As I was on the way to the theater to see Avatar, I thought I'd take a stab at pre-reviewing the movie based just on the trailers and articles I'd read about it. What I came up with was something along the lines of: "This will be a great movie, but not a great film." Which is to say, I thought it was going to be highly effective entertainment without necessarily being something more substantial than that.
With a pretty substantial caveat, I think that's a pretty apt description of James Cameron's multi-hundred-million-dollar, twenty-years-in-gestation labor of love. It's a spectacular, astonishing thing to sit through, especially if you see it in IMAX 3-D, as I did. But it's also like cotton candy - disintegrating nearly as quickly as you can form any kind of impression of it.
The film's plot pretty much fits into the three-minute trailer: It's 2154, and Jake Sully (Sam Worthington), a paraplegic ex-Marine, takes his murdered twin brother's place in something called the Avatar program, on an Alpha Centauran moon called Pandora. The moon is a dense, bountiful rainforest populated by various wild creatures including the sentient, ten-foot-tall, blue-skinned humanoid Na'vi. RDA, the megacorporation in charge of mining the moon for precious unobtanium (har), grows human/Na'vi hybrids which are driven remotely by human operators in order to study the Na'vi for diplomatic and shareholder conscience-appeasement purposes. They're the carrot. The stick is the company's military wing, personified by Col. Miles Quarich (Stephen Lang, sporting some nasty scars courtesy of the local wildlife), another ex-Marine who sees Jake as a valuable reconnaissance asset for the inevitable throwdown with the locals. This initially puts Jake at odds with his avatar-driving scientist colleagues, Grace Augustine (Sigourney Weaver) and Norm Spellman (Joel Moore). But when he gets nearly killed and then mysteriously adopted by the local Na'vi tribe and falls in love with their princess, Neytiri (ZoƩ Saldana), he begins to question his loyalties. When Quaritch and his sleazy corporate boss Parker Selfridge (Giovanni Ribisi) decide they need the rich vein of unobtanium under the local village and will simply take it by force, Jake goes native and joins a Na'vi rebellion against the "sky people."
Much of the joy of the movie isn't from its narrative. It's been said over and over again how this movie looked like nothing else, and was steps ahead of anything else being done with CGI. That part of the hype is absolutely true. It's a movie which gets exponentially better by the size of your screen - if you're going to see it, see it on the biggest damn theater you can find. The 3-D effects, while initially a bit disorienting, are done in such a way as to contribute to the film, not distract from it. There are a number of really standout sequences, especially the Na'vi flying through floating, Miyazaki-esque mountains on the backs of pterodactyl-like "banshees," the phosphorescent nighttime forest scenes, and at the end, the astonishing battle where the Na'vi and forest creatures take on the human helicopter gunships and powered armor suits. It really is one of the greatest action scenes ever committed to film.
More importantly, the animation just works - which wasn't clear from watching the trailer beforehand on a laptop screen. Partly it's the superiority of Cameron's motion capture technique, which allows the human actors to clamber their blue alter egos over to the far side of the uncanny valley (a feat that only a few motion-captured creations have achieved before). Partly it's the animators' sheer attention to detail, like the movements of the tiny set of secondary eyes behind the primary pair on the banshee heads. And partly it's that the cast is surprisingly strong, even in tall-blue-person form. Sam Worthington, who was so dull in Terminator 4, is in his element here, as the slightly reticent but cynical wiseass who discovers something about the place that appeals to him without completely falling off the cliff into sentimentalism. Sigourney Weaver is probably the standout of the cast as the prickly but decent Dr. Augustine. Saldana is somewhat limited by her dialogue, which includes many of the film's cheesiest lines, but manages to acquit herself pretty well. Michelle Williams, as the scientists' sympathetic helicopter pilot, makes the most of a limited role. And even Ribisi and Lang, given little to do except demonstrate their characters' moral bankruptcy, leave enjoyably deep teeth-marks on the scenery.
There's no substantial technical aspect of this film, in fact, that lands wrong. The score is James Horner on autopilot, but James Horner on autopilot is still better than 90% of Hollywood music - although you should definitely leave the theater at the predictable final beat in order to miss the ending credits song, which will make you long for a Celine Dion comeback. The editing is deft, and shows off the astonishing depth of the world. And the production design is at its worst only somewhat derivative, and in many cases staggeringly creative. It's almost enough, in fact, to cover for the fairly gaping hole in the entire endeavor.
When the plot was first leaked onto the Internet, Avatar was derisively described by some as "Ferngully in space," or "Dances with Wolves in space." There's a lot of truth to those descriptions. The plot is not the film's strong point. The only thing that comes close to a surprise is which characters Cameron bumps off and which he allows to survive, and even that's not especially surprising (although it was, in at least two cases, pretty disappointing). But the really disappointing thing isn't the simplicity of the plot, since it's entirely possible to make a great film with a straightforward narrative arc. It's the missed opportunities.
There are feints in the direction of really interesting ideas in this movie. The idea of someone literally assuming a new identity at the cost of a previous one isn't explored in anything like the depth that it could have been: Jake returns to his own, crippled body when his avatar sleeps, and says at one point that he's not sure which world is real anymore… but his human world never really felt real to begin with. We know he was looking for an adventure and that the reward for cooperating with Quarich will be an otherwise-unaffordable operation to restore his spine and legs to full function, but aside from that the character's human side isn't really given much depth, which undercuts the transformation - why do we care what you become if we don't know what you were before?
As a mirror image of that flaw, the villains aren't given much - or, really, any - depth. Their only motivation is profit. In some of the background material for the movie, unobtanium is described as a superefficient superconductor, without which the economy and remaining environment of Earth will fall apart. It wouldn't have taken much to work that into the script - a line or two would have done the trick, and would have fleshed out the backstory far more. It is specifically said during the movie that Earth is "dying" thanks to the environmental degradation of the kind we see the human miners beginning to inflict on Pandora, but we're not invited to think anything other than "good riddance."
Of course, giving us a reason to think that would have given moral dimension to the villains, which would have been problematic during the final battle, where Jake and his new friends kill quite a large number of human soldiers without so much as a moment's hesitation. It's much easier to cheer when the helicopter door gunner's head gets used by an enormous banshee as a handle to hurl him to his death if he's just a sadistic gun for hire. Cameron's enemies have always been unthinking, immoral or amoral creations - the Terminators, the Aliens, the iceberg - but it's still disappointing to see him apply that same philosophy to humans. Again, a missed opportunity: we see Neytiri and Avatar Jake express sorrow and thanks when they hunt and kill animals, in one of the many sequences which plays very obvious homage to Native American rituals. But perhaps they should also extend the same courtesy to the soldiers they slaughter? The message of the film - and let's not, please, pretend that it doesn't have one - is a combination of anticolonialism and environmentalism. But it's a silly, half-baked, one-dimensional message: Corporate Humans with Big Machines are Evil and Destroy; Natives who Live With Nature are Purely Good. Never mind that I don't see Cameron giving up his garage full of muscle cars or personal aircraft and communing with nature, or that Avatar was made and sold with corporate money and high technology. The message is more important than the reality. Even if it's the kind of over-the-top message that invites the audience to feel vindictive rather than reflective. As narrative, this lack of subtlety doesn't work, and as a call to action it's worse than useless.
The counterargument, of course, is that trying to work in moral complexity would ruin the movie. I think that's missing the point. Movies like The Dark Knight have shown us that you can have a huge, commercially successful blockbuster with at least a modicum of moral depth, or at least an effort to consider ethical questions rather than present them as settled - a film, in other words, rather than a cartoon. With Avatar, James Cameron has shown us that he has perhaps the best technical skills of any director working today - now he just needs to work on putting something more behind them.
