The long-awaited sequel picks back up a few years after the first Avatar, with former U.S. (With 21st-century technology and Cameron’s obsessive attention to detail, I have few doubts the director can realize his goal, budget be damned.) The issue is that, as The Way of Water lets its lengthy credits roll, the story already feels cramped-if not outright exhausted. But the problem with this grand plan is not its ambition, nor its cost. He has multiple sequels beyond The Way of Water planned, including one currently in production and scheduled for release in 2024. The franchise-ification of Avatar has long been Cameron’s goal, even if it takes most of his late career to complete.
#Avatar elements series#
But the artistry of Pandora alone cannot a series sustain. The Way of Water is gorgeous, in a way few CGI-heavy films have been in quite some time. Mind-boggling technology and a sped-up frame rate render underwater acting as engaging as conversation with the audience member seated beside you. And Cameron’s sequel re-captures this awe, in part, by carving out new territory, peeling the cast and cameras away from the forested peaks and neon-lit grasses of his fictional moon to its coasts and ocean floors, where new pastel-colored species thrive in harmonic phosphorescence. The newest entry in this cinematic universe, Avatar: The Way of Water, is as visually splendid as its 2009 predecessor, which introduced viewers to a place so dream-like that some fell into an actual depression when forced to wrest their eyes away. Director James Cameron has crafted a true blockbuster setting, the result of astounding visual effects that render 10-foot cerulean aliens as humanistic as our wrinkles and pores in the mirror. At face value, the world of Pandora should be too big to fail.
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