The Sense of Water' drowns a new visual genius.

First, let’s take a look at a particular aspect that is not inconsequential in a movie of this magnitude: the film’s strengths are readily apparent. The technical marvels that it exhibits are entirely transparent from the very beginning, and James Cameron does not have to exert an excessive amount of effort in order to convince people of their worth. Each viewer will have to decide for themselves whether or not it was worth waiting for more than a decade, but the answer is yes: the facial expressions of the characters, the naturalness of their movements, the spectacular underwater sequences, details such as the surface of the water, and the variety of textures, luminosities, and effects with 3D…

All of this represents a certain technological peak, just like the liquid metal in Terminator 2 or the computer-generated shots in Titanic, despite the fact that the film’s 3D and extremely high definition sometimes work against it. This is especially true in certain action sequences that are too frenetic and where the action seems to speed up with that annoying 48 frames per second effect, similar to what happens in The Hobbit. As a technical demonstration, Avatar: The Sense of Water fulfills all of the requirements that we could possibly ask of it. In any case, these are very minor issues.

One last item to consider is the film’s strengths as a conventional movie. Because ‘Avatar’ aspires to be a mainstream and family film (not that it can afford anything else, given its economic objectives), and because the film’s length of three and a half hours is a burden for it in this regard. Although we recommend going into the movie with a full stomach and an empty bladder, it is not because the picture is uncomfortably weighty; rather, the first installment told a story with a very similar structure in thirty minutes fewer than the current installment. But wow, did it come through!

mostly due to the fact that we are currently watching a very similar plot: in that one, a marine found the advantages of diverse creatures, falling into communion with their cultures and gaining a new perspective on the world. In this situation, his entire family is forced to run from a human onslaught and comes into contact with another Na’vi clan, whose traditions he will have to learn to conform to. The entire process of learning to relate to the horses, the fauna, and the mystical component of the environment will be again experienced by us. In fact, this concept is repeated so frequently that it is included in the title of the book.

There is not enough time for three and a quarter hours.
If it weren’t for the fact that the script is full of ups and downs, none of this would be a big problem (after all, it has been thirteen years; replicating something from that starting point is not a problem by any stretch of the imagination). In point of fact, the characters would have benefited from some development or from going into detail about the challenges that they face… in a movie that is longer than three hours! The problem is that you are concentrating on an excessive number of things, yet you are not concentrating on any of them.

The collective prominence of the Sully family (to which a good number of friends from the new clan are added) makes the attention disperse and none of the ideas that are suggested, some of them very interesting, take shape in a subplot of some depth: the daughter who seems to have a special communion with nature and who is unaware of her origins, the father who treats his family as if they were soldiers, the delirious evolution of the only human character of some importance (without a doubt, he is the one who makes it clear that the script has been rewritten dozens of times)…

As a result of the plot’s tendency to jump around between different character subplots without clearly focusing on any of them, as well as parts of pure visual exhibitionism, and the fact that it frequently fails to tie up loose ends (why are there marines with Na’vi bodies, and what real justification is there for that?), the film’s true strength is diminished. In the final hour, for instance, there is more or less pure action in the purest Cameron manner, with set-pieces that are filled with wonderfully shot ideas. However, by that point, the viewer is fatigued, and the characters do not interest him too much.

“Avatar: The Sense of Water” is not a terrible performance by any stretch of the imagination; but, it is not anywhere close to being the complete revolution that the initial impressions claimed it would be. And Cameron was absolutely correct: the animation of Thanos appears to be laughable in comparison to these new Na’vi. On the other hand, there is a chilly quality to this entire adventure, which indicates that Marvel may continue to take it easy for the time being, provided that there are no unexpected developments. Despite the fact that “Avatar 2” will be a critical and commercial triumph, the Marvel Cinematic Universe (MCU) continues to maintain its position as the most popular and widely accepted mass spectacle.

The Sense of Water’ drowns a new visual genius.

By triji

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