A movie as a more perfect version of a video game. Avatar 2 is a wonderful dead end | Currently

It only takes a few seconds, and the 13-year-old doubts are gone. Did it make sense for one of the most successful and distinguished living directors to delve into the world of alien blue aliens in which he had already spent a quarter of a century? Once the first scene of Avatar: The Way of Water begins, it’s clear what will be talked about in the coming weeks and months.

James Cameron has done many pioneering works. He has already invented new revolutionary techniques for science fiction action Terminator 2: Judgment Day. picture Titanic He symbolically buried the entire Hollywood of the last century in the depths of the ocean when he made probably the most exciting melodrama of all time and at the same time one of the most intense disaster films. Even then, it was clear that he did not want to look for new paths in cinematography, but to do what no one else could, wanted or could do.

With $1.8 billion worldwide, Titanic was for a long time the most commercially successful movie of all time, but it was the exact opposite of a blockbuster. Instead, a bold relic was created that will forever stand out from history.

symbol picture It came in 2009 apparently just the opposite. Cameron He used it to revive the time-tested but long-forgotten 3D technology, as if he wanted to open the door to the 21st century, to search for new possibilities of the cinematic medium. It made a record $2.7 billion. This Thursday, Czech cinemas began showing the continuation of this huge adventure, and it was clear for a long time that the revolution was yet to come. Since the first Avatar, there have been minimal films that take full advantage of 3D technology beyond surface effect.

Cameron is now back as a solitaire game inviting the audience to a place they wouldn’t look otherwise. Once again, Avatar: The Way of Water has become a remarkable dead end in cinema history. It’s hard to imagine anyone going down a similar path in the near future. Because a Hollywood studio wouldn’t pay her. The sequel also cements some of the paradoxes of the world that the 68-year-old director has decided to devote the rest of his career to – Cameron Plan other gods.

The first part was not created simply as an exercise in the possibilities of digital technologies. The director wanted to tell a story with a strong environmental theme. With the vision that being able to build an enchanted world within viewer’s reach would only heighten the fear of its potential demise. This will enhance the ability to reflect and participate emotionally in the fate of the planet in which we live.

A movie that made big money was also created because people wanted to see it again and again in the cinema, or to experience the different formats in which it was shown. But at the same time, it was a movie that few people wanted to see afterward on DVD, on TV, or online. And the plot is easily forgotten. What remains above all is the feeling of amazement at the unprecedented.

Avatar: The Way of Water hits theaters Thursday. | Video: Falcon

The duo invites the audience back into the middle of the forest, which will instantly overwhelm the senses. This is not what the movies look like. The camera revolves around 3D characters and objects, which, however, do not look realistic, but very realistic. It’s like a more refined version of today’s video games. Everything is further enhanced if you watch the movie in a theater with technology capable of projecting at twice the frequency. Normal frames run at 24 frames per second. Avatar II can be seen in select cinemas with a copy at 48 windows per second. Thus, fast movements are smoother and clearer. In fact the most paradoxically unrealistic.

What is Avatar: Water’s Way about? In fact, it is not so important. The central family of natives live on a planet that is still trying to be colonized by people called the Celestials, as they have already destroyed the Earth and need a replacement. The father of the family here was originally a human, but he had decided to live in this world, not to plunder it. That is why we need to get rid of this “fugitive”. Thus the hero, his wife and children flee from the woods to another tribe and hide from the danger of those who live near and under the water. Naturally, the enemy will eventually find them there.

Sam Worthington as Jake

Sam Worthington as Jake | Photo: Falcon

This is one of the ironies of Cameron’s news. It contains a slightly more thought-out plot than the first part. He is devoted to family ties and most of his actions are motivated by concern for loved ones. But at the same time, the more than three-hour movie is so immersed in presenting a new aquatic and underwater world that the story simply gets lost from sight.

The entire middle section of the movie turns into a kind of natural history documentary. Or better yet, perhaps the most amazing documentary ever, because we’re not seeing living things on camera, but a world literally created out of nothing. Somewhere around here, the audience will be divided into those who continue to stare with open mouths and those to whom it is just a good-looking bore.

After all, this is “only” an improved version of the first version, and the feeling of discovery from the first stay in the three-dimensional world is no longer delivered. However, there are still many things to marvel at.

James Cameron invented a way to use so-called motion capture – that is, capturing the movements of real actors and their subsequent transformation into digital objects – under water. That is, how to get rid of glare, which usually makes such photography impossible. And they generally move in much larger areas, both under and above sea level, so the 3D technology’s ability to work with great depth of terrain will stand out even more.

Trinity Joe Lee Place as Tuck

Trinity Joe Lee Place as Tuck | Photo: Falcon

It’s the water that has long fascinated Cameron. In 1989, he dived to the bottom of the oceans in a science fiction movie miss. Ten years ago, the same director on a submarine sank to a depth of eleven kilometers from the Mariana Trench, to be the first person to collect scientific data. And now, in the action finale to the dazzling Avatar, both on and below the surface, he brings with him a mesmerizing battle portraying nearly all of his fascinations.

There will be a spin on the sinking of the Titanic, we will see heroes controlling robotic “exoskeletons”, the list could go on. But above all, Cameron, obsessed with detail, pulls off scenes that constantly suggest that the objects in front of the camera have weight. Giant whale-like creatures destroy various pots here – either by hitting them with their own weight, or by wrapping them with steel ropes, which make everything in their path crack and collapse. Mounted winged aborigines “Pterodactyls” move gracefully both under water and in the air.

It’s an elaborate and stunning spectacle, yet one that could easily fail. Cameron clearly wanted to make a very personal movie about family ties. Heroes worry about their loved ones and about the world. But we still see only some kind of elongated blue humanoids who, despite the technological progress, are similar to each other. There are relatively enough heroes, but they don’t have much room for development. When it comes to their lives, it is easy for them to be indifferent to us.

Avatar: The Way of Water is a great movie if you’re not looking for a strong story and well-thought-out characters after the cinematography. It provides a fascinating visit to a world never seen before on screen. And it’s not just about the design of the environment and the unusual creatures or colors, it’s about the fact how the camera moves in an unusual way, sometimes in a disorienting way, as if things were flashing before one’s eyes in some virtual reality. Is it still a movie or more of a simulation of reality? Or another medium where storytelling no longer matters?

Insofar as the author of these lines is mostly excited to stay here again, it is mainly an infatuation with possibilities, an intoxication with form. Avatar certainly goes beyond being a good or bad movie. This is indicated, for example, by articles that are already based on the first predictions they write About how people get depressed because they had to return from the cinema to the ordinary gray world.

James Cameron certainly wanted something like this, not only as a director, but also as an activist eager to pass on his environmental messages. At the same time, his film paradoxically resists in many ways to allow the viewer to connect with the characters, to experience their fears. The plot is the last interesting thing about the new avatar. However, you can live here for three hours and be constantly amazed. Then think to yourself, how much about trying something avant-garde and how just a bit of empty fetishism.


Avatar: Water Road
Directed by James Cameron
Falcon, Czech premiere on December 15th.

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