#James Cameron's Avatar was one of the highest-grossing films of all time

[robotpussy]

i was just about to watch this video by Cheyenne Lin

Avatar and the Wh*te Imagination (or lack thereof)

about the limits of white imagination and how evident it is in the Avatar movies, and it just reminded me that james cameron worked with an ethnomusicologist, Dr Wanda Bryant, to make music for the na'vi because he wanted something that "would sound like nothing we’ve ever heard on earth" then he decided what was made was too otherworldly and decided that their music should just be what white people would call "alien" and ethnic, aka, whatever music exists in African, Asian and Native American cultures (and that was the final result).

Originally there were many influences coming from all over the globe, but when Cameron listened to the demos, he claimed it was too recognisable as well as too 'weird', albeit for white people and just pushed for a more 'down to earth' version. Avatar is evidence of the continuation of generalized exoticism and stereotyping still being a driving force in Hollywood

[IMAGE ID: A screenshot of a segment from the journal entry written by ethnomusicologist, Dr Bryant discussing the process of creating the music for the avatar films that reads:

"In our initial phone conversation, Horner asked me to find unusual musical sounds that “no one has heard before,” by which he really meant sounds not readily recognizable by the average American movie-goer as belonging to a specific culture, time period, or geographical location"

/END ID]

[IMAGE ID: A screenshot of a paragraph from the journal entry written by ethnomusicologist, Dr Bryant discussing the process of creating the music for the avatar films that reads:

"Through a process of elimination we came up with 25 workable possibilities, including examples of Swedish cattle herding calls, folk dance songs from the Naga people of Northeast India, Vietnamese and Chinese traditional work songs, greeting songs from Burundi, Celtic and Norwegian medieval laments, Central African vocal polyphony, Persian tahrir, microtonal works by Scelsi, the Finnish women’s group Vârttinä, personal songs from the Central Arctic Inuit, and brush dances from northern California. None was an exact blueprint of what we were seeking, but each had at least one interesting musical device or characteristic that we could utilize. In some cases, it was a timbre that we might hope to mimic; in other cases, it may have been a song structure, an ornamentational style, or interesting intonation."

/END ID]

[IMAGE ID: A screenshot of a paragraph from the journal entry written by ethnomusicologist, Dr Bryant discussing the process of creating the music for the avatar films that reads:

"Horner then met with Jim Cameron for his input on our musical ideas. Cameron is a very hands-on director and wants to be kept in the loop about all major decisions. Most of the ideas we presented were dismissed by Cameron out of hand, rejected with appropriately blue language as either too recognizable (“Oh, that’s Bulgarian”) or just “too fucking weird!” Half a dozen examples were approved as possibilities."

/END ID]

You can read the full article here:

There is also a video by sideways that discusses this (if you don't want to read):

[filmsfromreel]

2023 Best Picture Nominees Ranked From Worst to Best

A late list from us at Reel, but a interesting night with some suprising winners meant plenty of time to reflect and discuss, eagerly anticipating the slate of films this year.

Whether or not you agree with the awards it’s safe to say that this year’s nominees for Best Picture were an eclectic group of films all bringing something different to the table. From franchise epics to dark comedies, from war films to music biopics, you cannot deny the quality on show. But, even though all the films were individualistic, some were better than others. Here is our ranking of the Best Picture Nominees from worst to best. 

10. Avatar: Way of the Water 

Most of the naysayers of James Cameron’s epic Sci-Fi sequel have been silenced as the film became the 3rd highest grossing film of all time. Absolutely nothing can take away the huge financial success of Cameron’s 3-hour water adventure, but, for all the vast landscapes, exciting action and visual wonder it offers, the film still gets bogged down by what plagued it’s predecessor.

For all its otherworldly qualities the film’s biggest problem is in its humanity. The multitude of characters, and their stories, feel like mere splashes in the ocean Cameron has created for us. While the visuals deservedly won big on Oscar night, there really isn’t enough consistency in Avatar’s vast 3-hour runtime, making the journey feel like a slog more so than the thrill-ride everyone was promised. 

9. Triangle of Sadness

Ruben Ostlund’s third feature had early signs it may follow a similar trajectory to the one Parasite had 4 years ago. Winning the Palme D’Or and getting nominated for a number of other awards across the globe, it looked like Ostlund would be celebrating deep into award season for his film. However, with no wins at this year’s Academy Awards, Triangle of Sadness has faded into the darkness as far superior films took the spotlight. This may just be circumstantial but arguably it’s because, despite being captivating in parts, this is Ostlund’s weakest effort.

When compared to The Square and Force Majeure, both of which have an enigmatic quality to their stories, Triangle of Sadness regularly smacks you on the head with its themes. Even when Ostlund is showing us some of the finest direction of the year (particularly in the dinner scene on the boat), it still gets dragged out to the extreme – hitting home ideas that were already communicated 10 minutes before. Having said that, Ostlund remains one of the most interesting filmmakers working today and despite Triangle of Sadness feeling weaker than his other efforts, there are still moments of brilliance scattered throughout.

8. The Fabelmans 

The biggest takeaway from Spielberg’s reflective life story is that the Director has never lost his touch. Sure, some of his more recent ventures pale in comparison to Schindler’s List, Jurassic Park and Jaws, but his understanding of the medium and how audiences connect to it are the shining light in The Fabelmans. Scenes in which Sammy Fabelman watches his audience react to his films are wonderfully constructed, making it clear that the legendary director has never lost his love for cinema. 

However, this film was always going to border on the self indulgent. If you compare this film to the reflective efforts of Cuarón’s Roma and Brannagh’s Belfast, The Fabelmans struggles to find a core reason to tell its story. Its backdrop dabbles with elements of depression, anti-semitism and bullying but never fully explores them and while Spielberg is telling the story with his heart on his sleeve, it still can’t find a genuine reason for the story it’s telling.  

7. Top Gun: Maverick

One of the year’s biggest surprises was the quality on show in David Kosinsky’s sequel to the cheesy 80’s classic. While it still adheres to its predecessors rules of topless sport and needless high-fiving the film’s technical aspects very often leave you in awe. The sound, visual effects and action set-pieces are wonderfully put together to create so much energy and tension – but the most surprising part of this sequel is the emotional attachments it holds to the first film. 

Tom Cruise’s performance as Maverick is reflective and softer while never losing the rashness of the character, and the emotional beats between Maverick and Goose’s son (named “Rooster”) win you over every time. This could have so easily turned into just another sequel, but Kosinsky’s controlled direction and modern approach make for a mature follow up that surpasses the original with ease. 

6. Elvis

Over the past few years we’ve had a slew of mediocre music biopics, often boasting a great central performance but never understanding their subject, which makes it a delightful surprise to have a film like Elvis come along. Baz Luhrmann took the story of an icon and told it with the energy and glamour that make the Director so distinct. But, what’s even more impressive is how the film understands just how emphatic Elvis Presley was as an icon. 

The film is by no means perfect, with Tom Hanks not quite hitting the mark as well as his co-stars, but this should be the definitive blueprint for music biopics to come. From his room-shaking begins to the darker days of his time in Vegas, Elvis tells us the story while never forgetting to inject the passion and personality that made Elvis Presley one of the most iconic performers of all time. Also, it’s impossible not to be impressed by Butler’s spellbinding performance.

5. Women Talking 

Sarah Polley’s chamber piece rightfully took home the Best Adapted Screenplay award for her talky adaptation of Miriam Toews novel. The script that Polley wrote is a beautiful balance between character, theme and discussion, lending personality and importance to create one of the most timely films of the year.

While Polley’s script is what shines the most it cannot be understated how important her direction is. Instead of being flashy and overbearing she opts for quiet and observational direction that allows her characters to shine with their own heartbreaking individuality. Like all great chamber pieces, Women Talking densely packs its small setting with so much – leaving you eternally affected by the film’s outcome. 

4. All Quiet on the Western Front

Edward Berger’s adaptation of Remarque’s novel takes a modern approach in its filmmaking to really hit home the timeless themes of the classic source material. Every battle scene is wonderfully constructed in order to capture the “War Is Hell” mantra of the film while never losing those individual struggles we see from the leading characters.

There are different threads that the film pulls on that don’t work quite as well as the core story, but these merely provide extra layers to a film that’s already packed densely with story. War films have to really do something special to stand out these days and Edward Berger has ensured that his film stands head and shoulders above a lot of films of a similar ilk.

3. Tár

At times Todd Fields’ near 3-hour character piece can feel strenuous. The script never hides away from the world it’s set in, often allowing long stretches of dialogue about Classical music to play out in front of its sturdy camera, but the film succeeds because of its subtle character evolutions. You’d be quick to dismiss this film as a discussion on “cancel culture” or even the separation of Art vs. Artist, but really what it’s doing is building everything into its central character.

Smartly made and marketed like a biopic, the film takes a grounded approach of talking about people who are considered otherworldly. Every action, conversation and thought Lydia Tár experiences is slowly etching away her mythical persona as one of the greatest composers of all time – until it all implodes in glorious fashion. The film will likely be remembered for Blanchett’s wonderful performance, but there is a quiet complexity to Tár that stays with you for a long time. 

2. Banshees of Inisherin

Martin McDonagh’s newest film is arguably his finest work. In Bruges loyalists will always argue against that, but McDonagh’s signature style has never felt more fluid than in Banshees of Inisherin. Not only that, but the razor sharp humour wonderfully compliments the quiet melancholic tone – as well as the allegory for the Irish Civil War. 

McDonagh surrounds himself with the familiar faces of Colin Farrell and Brendan Gleeson who, along with the addition of two wonderful performances from Kerry Condon and Barry Keoghan, anchor this film’s themes perfectly. The chemistry seeping from every scene shared between the cast amplifies the humour but also gives the film a sense of community, reaffirming the bigger questions of death and legacy, as well as the impact we have on those around us. 

1. Everything Everywhere All At Once 

Easily the most original and unpredictable film of the year – maybe even of the current decade – The Daniels’ bizarre vision of the multiverse is told with veteran control. You easily find yourself in awe of the film’s barbaric narrative, but what’s even more impressive is the it’s ability to find so much heart at the centre of its chaos. 

Amongst the confetti action, hotdog fingers and hundreds of other elements The Daniels pack into their film there is a quietly controlled narrative between Mother and Daughter, exploring their lack of connection and the solace they find in that shared experience. It’s a narrative that is extremely hard to balance at the best times but doing it with so much craziness surrounding it – as well as challenging a suffering marriage as well – is why this film easily stands as the best film nominated for Best Picture. Everything Everywhere All At Once won big at the Oscars and for the first time ever there isn’t a soul out there that can argue against with the wins.

[adamwatchesmovies]

Avatar (2009)

As soon as Avatar became the highest-grossing film of all time, it became cool to trash it. While the movie may use familiar elements, you’ve never seen anything quite like it. Visually stunning and filled with rousing scenes, this is a groundbreaking achievement in special effects that's surprisingly memorable.

In 2154, humanity has reached Pandora, a moon in the Alpha Centauri star system. Unfortunately, the largest deposit of its valuable unobtainium is beneath the home of the Na’vi, the planet's 3m tall blue-skinned humanoids natives. After attempting to negotiate mining rights with them for years, the RDA (Resources Development Administration) has developed “avatars”, Na’vi-human hybrids that can be operated by their genetically-matched scientists. When his twin brother suddenly dies, Marine Jake Sully (Sam Worthington) is sent to Pandora to take his place. Head researcher Dr. Grace Augustine (Sigourney Weaver) doesn’t trust Jake to integrate with the native population. She’s right not to, as he's agreed to feed Colonel Miles Quaritch (Steven Lang) specific intel to take the Na’vi down if no agreement can be reached.

Even at the time, the story by writer-director James Cameron felt both familiar and on the nose. It couldn’t be food or a cure for some deadly disease that humans need from Pandora, it's “unobtainium”, which might as well be space gold. Of course, the Na’vi live in perfect harmony with nature and display no barbaric behavior of their own. That’s reserved for humans - more specifically, the military forces and their boss, Parker Selfridge (Giovanni Ribisi), a weiner introduced when he shoots a golf ball into a coffee cup. The moment Jake meets the beautiful Neytiri (Zoe Saldana), you know he’s going to abandon his original goals and fall in love with the Na’vi and their ways - how could he not?

It's easy to find ways the themes and plot points could’ve been handled with more finesse or originality but in the film’s defense, all of that doesn’t really matter. The fact is, you fall in love with Pandora as quickly as Jake does. When Colonel Quaritch shows how ruthless he is and how little he cares about the Na’vi, you hate him with a burning intensity. When the natives fight back, you cheer loudly. Maybe the film is manipulative in that Pandora is a beautiful place filled with beautiful creatures that are easy to fall in love with and the villain is made so evil his hatred allows him to survive the planet’s poisonous atmosphere far longer than it should. These also make the film easy to follow and memorable. I hadn’t seen Avatar since 2009 but I remembered nearly every beat of the story. Unconcerned with the plot, I was able to bask in the lush jungles of Pandora the way I was meant to. Well, not quite. Unfortunately, the film isn’t quite the same when viewed at home, and in 2D, but you can catch a glimpse of what it was like on the big screen at the time. You understand why it was a game-changer, why people looked at what was on-screen as a true escape from their mundane realities.

The topic of escape brings me to my other quasi-criticism. If Avatar is the highest-grossing movie of all time, why isn’t it part of the collective conversation? Why don’t we see people dressing up as the Na’vi on Halloween? Where are the toys? Where are the memes and gifs alongside the ones of Thanos snapping his fingers? The thing is, as much as the film is memorable, it’s also so removed from reality it almost doesn’t belong in normal conversations. Ultimately, the story is about a white soldier who can do things better than all of the aboriginal people he originally came to conquer. The story is a power fantasy on a scale we’ve largely moved away from in the last 10+ years. Watching Avatar doesn’t really teach you anything about the world or about yourself. Is that a bad thing? No, not if you want a true escape. In fact, it's exactly what you want if you're looking for the ultimate getaway, something that reminds you of nothing from the real world.

At one point, I think I’d like to dig into the character designs, the cutting-edge special effects used to bring the film to life, the performances (Steven Lang is particularly great), the worldbuilding, and other technical aspects that make Avatar a good film but I’ve talked a lot already and ultimately, what matters about a movie is how it makes you feel and how entertaining it is. At both of these, Avatar excels. Watching it, you feel exactly as the protagonist does. You hiss at the villain as he does, you cheer when he cheers and you’re as awestruck by the colors as he is. The film generates a strong emotional reaction from its audience and that’s the mark of a movie worth seeing. (On Blu-ray, December 11, 2022)

[theuntitledblog]

Avatar: The Way of Water (2022) - REVIEW

SYNOPSIS

Jake Sully and Ney'tiri have formed a family and are doing everything to stay together. However when the Sky People return to hunt them down, they must leave their home and explore the regions of Pandora to find somewhere save to live.

The long awaited sequel to the highest grossing movie of all time has arrived with much fanfare and I have to say that watching Avatar: The Way of Water made for an unusual viewing experience. I've described the first film as a technical marvel that disappointed from a storytelling point of view but when it comes to the sequel, it's a somewhat different beast to process. Visually this is a film that I frequently and often was in awe of as the special effects are truly quite something. Does it repeat the same storytelling mistakes of the first Avatar? Not quite but it doesn't fully overcome them either. It does retread a lot of story elements of the first nor are the writers able to serve up anything that may convert the unconverted to James Cameron's vision. There are still sections where characters, both hero and villain, try to learn the way of things, we have a rivalry and a developing future romance but structurally it doesn't feel as predictable as the first. When it comes to spectacle however, The Way of Water surpasses the first film completely.

James Cameron wastes no time taking us straight back into the world of Pandora and bringing us up to speed with what's been happening in the decade that's passed. The first act of the film moves at a brisker pace as it (re)introduces new and old characters and re-establishes the threat posed by the return of humanity. As with the first, Cameron isn't subtle with his themes which we're reminded of as space ships lay waste to hundreds of acres of forest and later as whalers hunt the Pandora equivalent; the Tulkuns. The second act takes a slower approach once the Sully's encounter the coastal Metkayina clan who teach them The Way of Water in sequences that aren't too dissimilar from where Jake Sully (Sam Worthington) learned the ways of the Omatikaya.

Cameron and the writers also narrow rather than widen the battle against humanity with the guerilla war that Jake and Neytiri (Zoe Saldana) are fighting becoming a game of cat of mouse against a recognizable foe. The return of Col. Quaritch (Stephen Lang) feels like a strange choice for me as he is resurrected as an Avatar. Lang was a good villain in the first and while Cameron and co try to add some layers to him in his relationship with Spider (Jack Champion), it feels an odd choice not to introduce a new villain at this stage given how definitively Lang's Quaritch was dealt with previously. Also returning characters such as Norm (Joel David Moore) and Mo'at (CCH Pounder) are more or less sidelined entirely and will seemingly have to wait for another sequel to play a major part.

The Way of Water is unquestionably indulgent with its pacing with large sections where there aren't many action set pieces to break up the slower pace. Your willingness to indulge in this type of world building will be tested by your tolerance for the 3 hour runtime and the interest you hold in the Sully children as characters, particularly Kiri (Sigourney Weaver) and Lo'ak (Britain Dalton). For me the film didn't feel 3 hours long, the story is more character driven and the humans still make for effective villains and are very easy to dislike especially the new whaler, Captain Scoresby (Brendan Cowell) who leads hunts to kill the gentle and sentient Tulkuns. Although it does retread the first in many aspects, The Way of Water doesn't feel as structurally predictable which is probably the biggest and most welcome takeaway I have for the film given my criticism of the last.

One thing I cannot emphasize enough is just how gorgeous The Way of Water looks; the decade that has passed has clearly allowed the technology to be refined and the results are clear to see. The computer generated Na'Vi look photo real and at no point do any of the aquatic creatures fail to convince as living beings. The first film didn't look terrible by any means however it soared in flourishes rather than a whole whereas this looks striking throughout. Is it likely to win others over to the Avatar banner? I'm not sure however I think this will satisfy existing fans with its new and returning characters, grand visual effects and thrilling set pieces. With the Way of Water, there's little doubt that James Cameron has achieved what he set out to do and there's plenty to admire on screen. Perhaps a tad too familiar in parts with some question marks regarding the choice of villain; this doesn't stop The Way of Water from being a superior film to the first even if I'm not quite able to call it great.

VERDICT

Avatar: The Way of Water will test some with its slower pace and three hour run time however for me this is a superior film to the first with improved special effects, interesting new characters and thrilling set pieces.

4/5

[1997thebracket]

Round 2B

AOL Instant Messenger: Status update: ​~x~17 and strung out on confusion XoXo trapped inside a role of disillusion~x~ AOL Instant Messenger, better known as AIM, was a pioneering instant messaging platform that gained immense popularity from 1997 and carried into the early 2000s. Developed by America Online, AIM allowed users to send text-based messages in real-time, enabling easy and quick communication between friends, family, or colleagues, and creating an entirely new landscape for afterschool drama. AIM introduced many people to the concept of online chat and was instrumental in shaping the early internet culture around it. It also featured customizable screen names and allowed users to create buddy lists to see when their friends were online, along with the iconic AIM away status, which more often than not consisted of lyrics you wrote from memory. Unfortunately, AIM eventually declined in relevance with the rise of social media and more feature-rich messaging apps, leading to its discontinuation in 2017; nonetheless, AIM holds a nostalgic place in the hearts of those who grew up with it.

Titanic: Draw this poll like one of your French girls, Jack. The 1997 film Titanic, directed by James Cameron, is a disaster film set against the backdrop of the real-life sinking of the RMS Titanic in 1912; the plot follows the ill-fated love story between Jack, a penniless artist played by Leonardo DiCaprio, and Rose, an upper-class passenger portrayed by Kate Winslet. The two form one of the most iconic and pop-culturally referenced romances in cinema as they board the Titanic's maiden voyage– but as you, your aunts and your junior prom date all well-know, tragedy strikes when the ship collides with an iceberg, leading to its eventual sinking. Titanic was not only the top movie of the year but a cultural phenomenon, winning 11 Academy Awards out of 14 nominations (tying with Ben-Hur for the most won by a single film) and becoming the highest-grossing film of all time, until Cameron's next film Avatar surpassed it in 2010. Despite this, it isn’t terribly controversial to say film history remembers Titanic as… a bit more significant than Avatar.

[trulyinspiringmovies]

Avatar

“Avatar” was a fun time, even on a smaller screen, and seems unfairly criticized in some aspects and justifiably criticized in other aspects.

Jake Sully is a former Marine who has lost the ability to use his legs. In the year 2154, the technology to restore his limbs is available, but not with the money made by a veteran. After the death of his twin brother, Jake is offered to take his place on the Avatar project. The project would allow Jake to transfer his consciousness into the lab-grown body of a Na’vi. The reason Jake was chosen is because he shares the same genome as his brother and the Avatar would only work with him. Now, Jake must learn about the Na’vi culture to help the military mine the lucrative Unobtanium from their Hometree.

Just a quick thing before getting in the review; I watched the Extended Edition for this review. I’ve never seen the movie prior to that, so the Extended Edition, and the post-watch research I did, are all that I have to go by. With that out of the way, here’s my review. I had a great time with this film. The visuals were spectacular and I only wish I would’ve gone out to see the re-release in theaters that happened a couple of months ago. This is definitely a theater-experience movie. The reason I didn’t watch it back in 2009 was because I was 11 years old and I was rewatching “Coraline” in 3D in theaters for the third time. There were some criticisms of the story ripping off from other stories like “Pocahontas” and “Fern Gully’. The last time I watched “Pocahontas” was in early elementary school and I never watched “Fern Gully”, so the comparisons didn’t stick out to me immediately. Still, I don’t think it’s a fair criticism because most movies borrow from others and add minor tweaks. There is no such thing as complete originality. It’s crazy to think Quentin Tarantino movies get praised for being remixes of his influence, but this movie gets criticized for it. I do think the ‘white savior’ criticisms are valid. I’m not in a position to weigh in on the discussion, but I do acknowledge that it’s a problem in Hollywood. Still, the movie’s main draw isn’t the story, it’s the visuals. It does a damn good job of transporting you into a whole new world. Granted, I did have minor nitpicks about it. For starters, every creature felt like an ‘alienified’ version of an animal we have here on Earth. Second, it felt like the animals were made to be spectacles, rather than functional. It sort of takes me out of the movie when I’m thinking about how all these animals evolved to have some sort of biological neural link. There’s also this flying amphibian thing that rotates like a helicopter and I couldn’t help but think how disadvantageous it would’ve been for this creature to evolve with that trait. Another tiny nitpick I had was when Jake Sully has to fend for himself overnight and he makes a torch by dipping a stick in some sort of liquid. I don’t know how he knew that the goop was flammable, but I guess it doesn’t matter all too much. I thought a lot of the characters were one-dimensional, especially the villains. Sam Worthington’s Jake Sully was serviceable, but his bad acting really stood out next to Zoe Saldana’s brilliant performance as Neytiri. Usually, I’m critical of movies that go on for too long, but I didn’t feel the long runtime with this movie. The pacing felt great and everything scene seemed important to the overall story. I think the great script is to thank here and it’s impressive that James Cameron is the only writing credit. All in all, I can see why this movie was the number one highest-grossing film for the longest time. It’s not the most perfect movie, but it smartly marketed itself as the ultimate theater-going experience. It has amazing visuals, high-stakes set pieces, and genuinely makes you feel like you’ve been transported to another world. It’s crowd-pleasing and it's super fun if you don’t think too hard about it, which is easy to do with the visuals stealing so much of your focus. I will not make the same mistake of not watching the sequel in the theaters. I’ve already got my tickets to watch it in Dolby Cinema 3D and I cannot wait.

★★★★

Watched on December 30th, 2022

[sweetsmellosuccess]

It has been 13 years since we last spent any time in Pandora, the magical moon situated somewhere in the Alpha Centauri star system, and the truth is, most of us haven't missed it much.

Sure, James Cameron's original "Avatar" remains the highest grossing film of all time (just a tiny smidge above "Avengers: Endgame"), but for all the cheese it made, it's not as if it became a massive part of the cultural zeitgeist. There are reasons for this. Primarily, the first film was little more than a technology exhibit of what was then absolute cutting-edge CGI, and an "experience" such as theater chains over the country wish would become back into popular consumption.

For a while there, it seemed to herald a new dawn of 3D films -- there was a time, remember, where nearly every big-ticket release had a 3D element patched into it -- but, beyond that bubble, there was scant reflection of the film itself. It was a pretty standard action piece -- an oppressed group of good guys facing a dark, military group of bad ones, with the latter earning their comeuppance, and the good guys prevailing and dancing around a bonfire to celebrate (or, maybe that was the ewoks? It's so hard to remember).

[reviewsfromreel]

Avatar: Way of the Water (Review)

Director: James Cameron

Runtime: 3h 12mins

Sci Fi, Adventure

Living peacefully with his family on Pandora, Jake Sully must fight to protect his loved ones when humans return to the planet.

It’s been 13 years since James Cameron’s first Avatar was released to the world. The visual phenomenon became the highest grossing film of all time upon release, somehow luring an audience bigger than any movie ever. The question of ‘how’ or ‘why’ the film got so much attention is still a mystery to this day, aside from the visual spectacular it offered, there was nothing particularly groundbreaking in its “Dances With Wolves in Space” plot or in its stale dialogue. The sequel – either long awaited or dreaded depending on who you are – bolsters the same enchanting visual style of the first film but can’t help but fall victim to the same staleness. 

For all of the beauty and new exploration in the world of Pandora what remains the same is the threat. The Humans (or “Sky People”) feel like clones of the first Avatar, while as a force they are larger and more equipped it’s their motivations are the same. They still talk to each other with a misplaced machismo, something which feels distinctly 80’s James Cameron but here it feels stale, much like the characters delivering the dialogue. The most fleshed out villain is a returning Stephen Lang as Quadritch, a villain that despite being given a proper arc, still remains relatively lifeless even in his avatar skin. 

Despite the fact that Avatar’s success has always remained a giant question mark, it does have to be applauded visually. Much like its predecessor Avatar: The Way of the Water deserves the same plaudits – boasting a slick and jaw-dropping visual experience that stands as a technological achievement on its own. However, the stretched out runtime, poor dialogue and odd pacing often make this ‘epic’ flawed at best.

3/5

[the-anime-void]

Y'know what, fuck James Cameron's Avatar, I'm counting the Lord of the Rings trilogy as one movie and say that's the highest grossing film of all time.

All three parts were filmed at the same time, so unlike most movie series, it is a genuinely seamless story. It made $2.993 billion, and if re-releases can count towards the total box office gross of a movie, then I say releasing one big movie in multiple parts is fair game too!

[heavenboy09]

Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To You The Most Breathtaking & Superb Afro-American/ Caribbean Actress In The Acting World Today 🌎 Of The 21st Century

Hailing All The Way From Passaic, New Jersey 🇯🇪 

Her Roots are from The Dominican 🇩🇴 Republic & Puerto 🇵🇷 Rican Ancestry

She was born on June 19, 1978, in Passaic, New Jersey Her parents were Aridio Saldaña, who was Dominican, and Asalia Nazario, a Dominican with Puerto Rican ancestry. Nazario was living as a child with her mother in the Dominican Republic, but they migrated to New York to escape political unrest.

A trained dancer, She began her acting career in two 1999 episodes of Law & Order. Her first film role was in Center Stage (2000) in which she played a ballet dancer. She received early recognition for her work opposite Britney Spears in the road film Crossroads (2002). Beginning in 2009, She achieved a career breakthrough with her roles as Nyota Uhura in the Star Trek film series and Neytiri in James Cameron's Avatar film series. She portrayed Gamora in the Marvel Cinematic Universe, from Guardians of the Galaxy (2014) to Guardians of the Galaxy Vol. 3 (2023). In addition to franchise work, She has starred in the science fiction film The Adam Project and the romantic drama miniseries From Scratch, both for Netflix in 2022.

She is an American actress. Known primarily for her work in science fiction film franchises, she has appeared in the three highest-grossing films of all time (Avatar, Avatar: The Way of Water and Avengers: Endgame), a feat not achieved by any other performer. Films she has appeared in have grossed more than $14 billion worldwide and, as of 2023, she is the second-highest-grossing film actress, and the fourth actor overall. Time magazine named her one of the 100 most influential people in the world in 2023.

Please Wish This Magnificent Brown Skin Goddess Of Afro-Latin / Caribbean Descent Actress Of Immeasurable Talent In Major Big Blockbuster Franchises, A Very Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊

You Know Her

You Have Seen Her

& You Can't Not Help But To Love Her ❤

The 1 & The Only

MS. ZOE YADIRA SALDAÑA - PEREGO AKA ZOE SALDAÑA 🇩🇴🇵🇷🤎

HAPPY 45TH BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊 TO YOU MS. SALDANA 🤎💙💚#ZoeSaldana #Uhura #Neytiri #Gamora

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AVATAR: THE WAY OF WATER REVIEW

Welcome back to #Pandora! Make plans for a 3-hour vacation to the beautiful islands and clear seas of the alien planet! Swim with the sea creatures and get to know the natives. Just watch out for the big blue military hunting down a tribal leader and his family.

Thirteen years have passed since the release of the highest-grossing movie of all time. While the film came and left in the memories of pop culture, director #JamesCameron has been hard at work trying to replicate the awe and new-before-seen visual wonders of Pandora in this highly anticipated sequel.

While audiences haven't seen Jake Sully and Neytiri in over a decade, they have been busy raising their four kids while leading and protecting the Na'vi civilization from a familiar foe. The Sully family travels to the faraway island side of Pandora for protection, while getting to know their aquatic-built Na'vi brothers and sisters.

The original #Avatar was a theatrical spectacle back in 2009, with its revolutionary visuals and immersive 3D. #AvatarTheWayOfWater replicates that awe and wonder once again while adding a slightly strong story and high-framerate sequences. The trailers and advertising does not do the visuals justice, as you need to really see and experience the beauty yourself.

It has been a while since 3D has been shoved in our faces, and there's no better movie to bring the format back than the franchise that kickstarted the trend in the first place! Cameron is the pioneer of incorporating 3D into his movies and The Way of Water raises the bar even higher for immersive visual storytelling. While you can seek out 2D showtimes or wait for them to become more available, this is the rare case where the 3D is beneficial and incorporated well.

Visuals aside, the story and characters of Way of Water are improved, even if only slightly. The story shares focus not only with Jake and Neytiri but also with their kids and their aquatic neighbors. While the story itself is engaging, the dialog throughout is weak and cliché. For example, the amount of times characters would say "bro" to each other is distractingly annoying.

With so many characters to focus on, Cameron manages to stay focused on the important ones and use the side players only when needed. The only major character that falls flat is Neytiri being stuck as "the mom" for the majority of the movie. Performance-wise, Zoe Saldana is fantastic, but the character has little to nothing to do until the film's climax. When it's her time to shine, she shines bright, but Neytiri was done dirty for most of the movie.

The biggest area that will turn away casual audiences more than anything else is its over three-hour runtime. Running almost 30 minutes longer than the already bloated first film, it is fair for many to be hesitant in dedicating their time and bladder to this fantasy epic. While the time does fly by with good pacing, 3 hours and 12 minutes for any movie is a long time for one sitting.

As high quality and entertaining The Way of Water is from beginning to end, that long runtime prevents it from being a unanimous recommendation. For a once in a generation experience James Cameron is dedicated his career towards though, The Way of Water fits right in with his catalog of epics. Set some time aside with the family to revisit Pandora, as it appears there won't be that long of a wait to return again in 2024.

8.5/10

[avatarwarriordreamwalkers]

What I would have given to be part of this audience! Very interesting Avatar 2 fan feedback for James Cameron and Jon Landau’s Q & A, who promised to use it to make Avatar 3 even better. One fascinating detail from this presentation we discover; Avatar 2 is the highest grossing film of all time in Ukraine. 🇺🇦 For a nation at war, experiencing a mass exodus of families fleeing the fighting with Russia, seeing Avatar The Way of Water has struck a deep chord for many Ukrainians.

[ausetkmt]

Avatar Films Have Always Been A Gross Reimagining Of Colonialism

After 13 years, the sequel to Avatar(2009) has finally arrived. The original science fiction epic, written and directed by James Cameron, broke multiple box office records in its theatrical run and became the highest-grossing film of all time for a decade. Many will remember accompanying their families to sold-out theatres mere days before Christmas for a film that employed the use of groundbreaking technology which would change the art of filmmaking forever. However, Avatar (and its sequel Avatar: The Way Of The Water), is in fact a problematic analogy of indigenous oppression. 

To recap, Avatar follows disabled ex-marine Jake Sully (Sam Worthington) as he learns the ways of the Omaticaya clan of the Na’vi people in an avatar body that looks and functions just like theirs. Along with their culture, he falls in love with one of the Na’vi, a fierce warrior named Neytiri (From Scratch’s Zoe Saldana), and switches sides against the humans, subsequently leading the Omaticaya people in their war against Colonel Quaritch (Stephen Lang) and the Resources Development Association (RDA).

Many will remember the blue alien species facing adversity, but not many will remember (or have even noticed) that the central conflict in Avatar is an allegory for colonialism. An ignorant, aggressive, money-hungry corporation supported by military enforcement wishes to destroy the sacred homeland of indigenous communities in order to obtain valuable resources — sounds a little familiar to me. In fact, James Cameron has admitted that Avatar is based on the colonisation of Native Americans. In court documents from a 2015 plagiarism case where visual effects artist Gerald Morawski claims Cameron stole the idea from him, Cameron produced a sworn declaration detailing how he came up with the idea for the film. “Avatar is a science fiction retelling of the history of North and South America in the early colonial period,” read the statement. “Avatar very pointedly made reference to the colonial period in the Americas, with all its conflict and bloodshed between the military aggressors from Europe and the indigenous peoples. Europe equals Earth. The native Americans are the Na’vi. It’s not meant to be subtle.”

Indeed, Quaritch and the RDA are very obvious symbols of colonial whiteness; they even use a slew of derogatory, colonial verbiage, referring to the Na’vi as “savages” on multiple occasions. Sadly, this focal conflict follows into the sequel, with previously deceased Colonel Quaritch returning as the story’s villain via an avatar body that had all his memories stored in the event of his death. This time, he has one mission: getting revenge on Jake Sully. Colonel Quaritch is now even more bloodthirsty and dangerous, eager to destroy Jake and his new family, and he is willing to go as far as becoming the very beings he hates the most in order to exact vengeance. With the RDA and their weapons backing him, Quaritch lays waste to several Na’vi communities, burning down their homes and killing them in cold blood.

“The truth is, reimagining colonial violence and the suffering of indigenous people through the eyes of an alien species isn’t the epic story Cameron thinks it is.”

Indigenous people have taken issue with the themes in Avatar for years, but it’s only now with the increasing visibility of social media that there is a wider platform for them to share their opinions and continue a discourse about the problematic nature of this story. Now that indigenous people are being heard, some are calling for a boycott of the film’s highly anticipated sequel.

Much of the recent criticisms got louder following the resurfacing of a 2010 article by the Guardian that details the involvement of Cameron and Avatar’s Sigourney Weaver and Joel Moore in the Brazilian Xingu peoples’ campaign against the Belo Monte hydroelectric dam project. Acknowledging that the Avatar had created “a bit of a spotlight on [them] right now to raise awareness in certain key areas”, Cameron expressed his desire to make a 3D “experiential” documentary on the Xingu’s battle.

After watching indigenous ceremonies and meetings Cameron made extremely disparaging comments about the Lakota. “I felt like I was 130 years back in time watching what the Lakota Sioux might have been saying at a point when they were being pushed and they were being killed and they were being asked to displace and they were being given some form of compensation,” said Cameron. “This was a driving force for me in the writing of Avatar – I couldn't help but think that if [the Lakota Sioux] had had a time-window and they could see the future… and they could see their kids committing suicide at the highest suicide rates in the nation… because they were hopeless and they were a dead-end society – which is what is happening now – they would have fought a lot harder.”

Cameron has since addressed the subsequent accusations of racism in a UNILAD article, noting that he wanted to “listen and to be sensitive to issues that people have.” However, Cameron has not apologised directly to the Lakota people for his degrading comments. 

Simply acknowledging people's feelings as “valid” is not enough. The truth is, reimagining colonial violence and the suffering of indigenous people through the eyes of an alien species isn’t the epic story Cameron thinks it is. It’s an appropriative and tasteless virtue-signalling of a traumatic issue that still affects millions of native people today.

Despite Cameron claiming that he wishes to move away from the white saviour trope, the backstory of Avatar’s central white character says otherwise. By positioning Jake as the Na’vi’s saviour, the film’s “fuck white people” metanarrative conveniently disavows whiteness as inherently bad. Even in Avatar: The Way of Water, despite bringing even more death and destruction to the beautiful land of the indigenous Metkayina tribe who provide a safe haven for his family, Jake pretty much remains the hero of the story.

This representation of Jake as one of the “good” whites implores people to view whiteness as an institution and a system, rather than individuals who can be complicit in a system of violence and oppression. In doing this, Cameron suggests that sometimes, whiteness can save us. It feels like some weird colonial wet dream that appoints certain well-meaning white people as the saviours of native people in the perpetual struggle against other white people. Both Avatar films’ metanarratives are framed as counter-hegemonic, but they ultimately end up reproducing hegemony by positioning white people as heroes — thus supporting and legitimising white supremacy. 

The franchise props up whiteness as something special and unique that enrichens and sets you apart from everyone else. In Avatar: The Way of Water, Jake and Neytiri’s kids are seen as outcasts, similar to Jake, because they were born with five fingers like humans instead of four like other indigenous Na’vi. Because of this, they are teased by other Na’vi. However, throughout the course of the film, the Sully kids are revealed to have special abilities; Kiri (Weaver) the daughter of the late Grace Augustine’s (also Weaver) avatar body, has a particularly special connection with Ewya, the Na’vi’s omniscient deity. It’s interesting that in both films, the characters that are connected to whiteness (apart from the RDA) are treated as different and special among the indigenous communities they make a home in.

Ultimately, colonialism is a real-life monster that has and continues to affect indigenous people globally for generations. Though the story of Avatar is fictional; its themes aren’t, and it’s imperative that we think critically about the on-screen representation of certain issues and groups because the media largely informs our understanding of the subjects depicted. It also informs our application of these issues — from individual to collective praxis. It’s even more important when you consider the global visibility of this film.

James Cameron most likely thought that this film would implore pro-colonialists and Western imperials to think about their empire’s history differently. But if he really wanted to fight for the rights of indigenous people, he could have directly provided aid, reparations, or any kind of tangible support to these communities instead of producing a multi-billion dollar franchise that emblematizes their trauma. His net worth is literally $700 million. But do the people whose struggle inspired filmmakers like Cameron and line his millionaire pockets see even a cent of those profits? No. Of course not. 

It’s true: Western colonialism begets a debt that cannot ever be repaid. But white Westerners, at the very least, can make a start — and putting a spin on indigenous trauma for profit isn’t it.

[the-odd-ducks]

Titanic (1997): A Timeless Classic

Director: James Cameron Release Date: December 19, 1997 Genre: Epic Romance / Disaster Running Time: 195 minutes

Star Cast:

Leonardo DiCaprio as Jack Dawson

Kate Winslet as Rose DeWitt Bukater

Billy Zane as Cal Hockley

Kathy Bates as Molly Brown

Frances Fisher as Ruth DeWitt Bukater

Bill Paxton as Brock Lovett

Gloria Stuart as Older Rose

Storyline Overview

Titanic is a blend of romance and historical disaster that takes place aboard the ill-fated RMS Titanic. The story is set in 1912 and follows a young, aristocratic woman, Rose DeWitt Bukater, and a poor artist, Jack Dawson, who fall in love despite the class differences that separate them. Their blossoming romance is challenged not only by societal expectations but also by the looming tragedy as the Titanic hits an iceberg and begins to sink.

The film is framed as a recollection of an elderly Rose (played by Gloria Stuart) narrating her experience on the ship to treasure hunter Brock Lovett (Bill Paxton) in 1996. The love story between Jack and Rose drives the emotional core of the movie, contrasting their intimate, personal struggle with the grand-scale disaster.

Why Titanic Became One of the Top-Rated Films

Epic Love Story: At the heart of Titanic is the love between Jack and Rose, which resonates with audiences worldwide. Their romance, crossing class barriers, captures both the excitement and tragedy of young love.

Technical Innovation: James Cameron’s use of cutting-edge CGI and practical effects brought the Titanic’s sinking to life in breathtaking detail. The recreation of the ship and its fateful voyage set a new standard for visual effects at the time.

Historical Resonance: The story of the Titanic’s sinking is already one of the most tragic events in modern history. The film captures the grandeur of the ship’s construction, the excitement of the voyage, and the horrifying reality of its destruction, connecting emotionally with audiences.

Memorable Soundtrack: Celine Dion’s “My Heart Will Go On” became an iconic piece of music, symbolizing the eternal love between Jack and Rose. The score by James Horner enhanced the emotional weight of the story and became one of the most recognizable soundtracks in film history.

Emotional Impact: The combination of romance and disaster created an emotional rollercoaster for viewers. Cameron’s ability to humanize such a large-scale tragedy through Jack and Rose’s intimate story made the sinking of the ship hit even harder.

Box Office Collections

Titanic was not just a critical success, but also a monumental box office hit. It grossed over $2.2 billion worldwide, making it the first film to cross the billion-dollar mark. At its peak, Titanic held the title of the highest-grossing film of all time until James Cameron’s Avatar surpassed it in 2009. The movie remained in theaters for months due to sustained public demand and continues to be one of the highest-grossing films in history.

Awards and Recognitions

Titanic swept the 70th Academy Awards with 14 nominations, tying the record set by All About Eve (1950). The film won 11 Oscars, including:

Best Picture

Best Director (James Cameron)

Best Original Song (“My Heart Will Go On”)

Best Visual Effects

Best Sound Editing

Best Sound Mixing

Best Original Score (James Horner)

Best Art Direction

Best Cinematography

Best Costume Design

Best Film Editing

This achievement made Titanic one of only three films in history to win 11 Academy Awards, along with Ben-Hur (1959) and The Lord of the Rings: The Return of the King (2003).

Beyond the Oscars, Titanic also earned four Golden Globe Awards, including Best Motion Picture — Drama, Best Director, and Best Original Song.

Cultural Impact

Titanic transcended the typical box office blockbuster to become a cultural phenomenon. The love story of Jack and Rose captivated audiences across the world, making Leonardo DiCaprio and Kate Winslet household names. Titanic dominated popular culture in the late ’90s and early 2000s, inspiring countless parodies, discussions, and fan tributes.

The film’s re-release in 3D in 2012, coinciding with the 100th anniversary of the real Titanic’s sinking, only added to its legacy. The re-release was highly successful, bringing in an additional $350 million at the box office, proving its timeless appeal.

The Team Behind Titanic

James Cameron (Director, Writer, Producer): Cameron’s vision for the film was integral to its success. Known for his perfectionism and ambition, he created a film that balanced romance with spectacle and grounded historical accuracy.

Jon Landau (Producer): Worked closely with Cameron to manage the monumental production, keeping the film on track despite going over budget.

James Horner (Composer): His score for Titanic is one of the most beloved in cinematic history. The main theme, “My Heart Will Go On,” performed by Celine Dion, won the Oscar for Best Original Song and remains an iconic piece of music.

Conclusion

Titanic remains a timeless classic, a perfect mix of romance, drama, and spectacle. Its combination of historical tragedy with a heart-wrenching love story, coupled with state-of-the-art visual effects, captured the imaginations of audiences worldwide. Even over two decades after its release, Titanic continues to be a cultural touchstone and an essential part of film history.

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Avatar (2009) - REVIEW

SYNOPSIS

Ex marine Jake Sully replaces his deceased twin brother on a corporate mission to the remote world of Pandora in an attempt to establish peaceful relations with the natives of that the world; the Na'vi. Occupying the body of a genetically engineered Na'vi called Avatars, the Na'vi accept him as one of their own, he must decide where his loyalties lie.

Heralded as an event film; Avatar had taken James Cameron 15 years to bring to the big screen and with it he was promising pioneering new special effects that could create photorealistic alien characters and environments. Avatar's success is beyond question as it still remains the highest grossing movie of all time despite being temporarily replaced at the top of that summit by Avengers Endgame. However Avatar reigns supreme and with that success inevitably comes some backlash. The concept and scale is right up my street and something I'm very much on board for and while I don't dislike Avatar, I've never been able to say that I love it either. For a film that was promising to be so groundbreaking, the storytelling felt disappointingly familiar and not all the characters were as memorable as some of Cameron's previous films. Maybe that's an unfair expectation to have, but as a result I have often viewed Avatar more as a technical masterpiece rather than storytelling one.

Nearly 14 years later and rather close to the eve of the release of the long awaited sequel, Avatar has returned which has not only given me a chance to see it on the big screen once more, but it is has also given me a new perspective on the film in general.

Very little has changed my mind about the story; if you've seen Dances With Wolves or The Last Samurai then you know what to expect. While the familiarity may have disappointed in 2009, I think time has been kinder plus this isn't to say that Cameron's vision isn't successfully realized or that the story itself doesn't work. The world of Pandora, while perhaps not quite always looking photo realistic for me, always convinces as a living world as do all the creatures and characters that fill up the screen both small and large. At no time did I ever consciously feel that I was watching CGI motion capture characters; the Na'vi in particular look incredible with full facial expressions and skin texture that does look photo real. Avatar never feels artificial or fails to convince me that I'm watching living characters and for that alone it deserve praise for creating a digital living world that fully convinces.

The story isn't subtle with its political leanings either but Cameron's world building has a strong spiritualism at its heart as the Na'vi are depicted as living in perfect harmony with nature and the life force of Pandora (Eywa) with specific rituals and customs that they live by. It's these scenes that do a lot of the heavy lifting when it comes to the story of Jake Sully because Sam Worthington isn't quite up to the task. Worthington doesn't fully convince me as the lead; he lacks charisma and is unable to convey a conviction that you feel Sully would need plus some of the heavy dialogue seems too much for him. Whatever you might think of Sully as a lead, it is in these sequences where he is under the tutelage of Zoe Saldana's Neytiri where you can understand why the human characters such as Sigourney Weaver's Grace Augustine have such a love for Pandora. Weaver and Stephen Lang in particular are excellent but it is Saldana and James Horner's score who steals the movie for me.

Avatar isn't short on spectacle either with uniquely designed vehicles and creatures that make up the action set pieces of the movie. I'm not a fan of shaky camera shots which is why I've never been a big fan of the early chase sequence between Jake and the Thanator too much even though it is both frantic and exciting. The remaining set pieces are outstanding and credit most go to the character work and investment in the overall story as the large scale final set piece in particular is a satisfyingly tense affair. Avatar delivers all the thrills that you would expect James Cameron to deliver on having directed films like Aliens and Terminator. Despite the 12 year hiatus, he hasn't lost a step here and while Avatar may not necessarily be his best film, it is certainly a triumph of ambition and world building. I just hope for a better story in the Way of Water.

VERDICT

Avatar deserves more credit for what it does achieve than just what people such as myself wished it could've been. While the story remains disappointingly familiar and Sam Worthington doesn't quite convince for me, what does convince and is realized is James Cameron's vision of creating an alien world that feels alive and real. 13 years later ... Avatar remains a rich science fiction epic that satisfies far more than we might've remembered and this re-release does well to spark interest and anticipation for the upcoming Avatar: The Way of Water.

4/5