What I’m Watching: ‘Avatar’ and ‘Devotion’ provide big-screen spectaclesDate: 12/27/2022 New to Theaters: “Avatar: The Way of Water”
Love it or hate it, “Avatar,” the technical magnum opus of “Titanic” and “Terminator 2” director James Cameron, left an unshakeable mark on cinemas worldwide. The film’s 2009 debut sparked Hollywood studios’ curiosity about 3D and exploring inventive worlds immersed in the latest cutting-edge technologies. It also marked a sweeping victory for Cameron, who after a decade-plus of intricate production time, quieted skeptics with a visceral marvel that showcased the thrilling scale and captivating wonderment synonymous with era-defining blockbusters.
“Avatar” also drew its fair share of critiques throughout its record-breaking box office run. Some levied objections to the film’s traditionalist narrative of an outsider submerging himself and ultimately acting as the savior of an indigenous tribe. The arc is taken straight out of other dated projects, such as “Dances with Wolves” and “The Last Samurai,” and not repurposed in an exceptionally substantive light with “Avatar.” The underlying issue is indicative of a film that enchants viewers through sheer spectacle over compelling narrative developments.
I understand the reasonable grievances with “Avatar.” Still, I would argue its positive achievements far outweigh its shortcomings. Cameron and company cultivated a breathtaking cinematic feat that innovated during an era in which blockbusters were all too satisfied sticking to familiar routines. The film’s open-hearted embrace of spirituality and the marvels of nature also provided a refreshingly earnest narrative backbone compared to other blockbusters’ obsessions with endless conflicts.
Nearly 13 years later, Cameron’s long-awaited return, “Avatar: The Way of Water,” finds the director elevating his craft to new heights. The sequel cultivates an engrossing, three-hour epic despite some of its narrative shortcomings.
“The Way of Water” picks up shortly after the events of “Avatar.” With paraplegic marine Jake Sully now fully submerged into his avatar Na’vi body, he and his wife, Neytiri, start a blossoming family. Years of prosperity as the leader of his tribe are soon halted when his slain adversary, Quaritch, returns in the form of a Na’vi body. The incoming invasion of vengeful humans leaves Jake and his family seeking shelter at the water tribe, Metkayina.
Storytelling beats are mere accessories to the vibrant vision Cameron conjures with “The Way of Water.” In the indescribable light of the film’s 3D, high-frame-rate imagery, “The Way of Water” casts a transfixing spell on viewers. The sheer scale and technical innovation on display showcase a movie operating light-years beyond its blockbuster contemporaries. From the sweeping sights of grand underwater creatures to the immersive details dispersed throughout the alien world of Pandora, “The Way of Water” submerges itself in an arresting sense of place that always feels rewarding to explore.
While trend-setting technology is always a focus for Cameron, his craft never falls into the trap of style over substance. Instead, the director remains one of the best in the industry at evoking wonderment and moving sentiments from his expressive filmmaking choices. Cameron particularly excels at conveying the emotionally charged bond between humanity and the natural world. Paired with Simon Franglen’s majestic score and Russell Carpenter’s precise cinematography, “The Way of Water” features several wordless moments of harmony that elicit genuine impact.
From a narrative perspective, “The Way of Water” benefits from some new inclusions. The focus on Jake, Neytiri and their newfound roles as parental figures is a savvy addition that forces both characters to reflect on legacy and the challenging burdens of parenthood. Sam Worthington’s performance as Jake benefits significantly from the character’s newfound dimensions, while Zoe Saldana remains a magnetic force as Neytiri. The return of villainous Stephen Lang as Quaritch also delivers the goods. Lang is irresistibly sinister in his scenery-chewing delivery, and the character’s transformed identity into a Na’vi awards the actor gripping new textures to unearth.
Other elements from “The Way of Water’s” screenplay struggle similarly to its predecessor. As a technician, Cameron possesses boundless talent, but his writing remains rigid and hackneyed. Didactic dialogue exchanges and underdeveloped character arcs can occasionally muck up the evocative beauty of the film’s visual profile. I will also admit that the three-hour-plus running time will not be for everyone. The movie is well-paced for the most part, but a bloated final act that’s far too busy for its own good struggles to conclude the narrative on a satisfying note.
Still, “The Way of Water” pulls off an impressive feat by building upon its lionized predecessor. The sequel delivers a breathtaking cinematic experience that puts many of its blockbuster peers to shame.
Also in Theaters: “Devotion”
The first Black United States Navy aviator, Jesse Brown, receives the Hollywood biopic treatment in “Devotion.” Like anyone who grew up with a war movie-obsessed dad, I’ve sat through an endless gamut of war pictures.
The prevalence of these films elicits a fascinating assortment of quality. Revered classics like “Full Metal Jacket,” “Jarhead” and “Apocalypse Now” promote introspective deep dives into soldiers’ complex psyche. On the other hand, forgettable romps such as “Midway” and “Pearl Harbor” offer little value in their shallow embrace of violence and bombast. The dissident results of these features highlight the high-wire balancing act required to make historical war films resonate with genuine sentiments rather than relaying another vapid series of action scenes.
“Devotion” teeters on that challenging line with inspiring results. Under the guidance of “Sleight” director J.D. Dillard, “Devotion” renders an intelligent and emotionally rousing tribute to overlooked heroes of the Korean War.
Dillard is only a few features into his directorial career, but he possesses the boundless talent of a revered industry veteran. He and cinematographer Erik Messerschmidt visualize Brown’s story within the grand scale of retro war epics. The duo basks in the high-flying theatrics of soaring aircraft and immersive backdrops of war-tattered lands with arrestingly cinematic results. In contrast, Dillard and Messerschmidt utilize an intimate touch in their character-driven moments. Their patient camerawork and expressive framing choices effortlessly evoke powerful sentiments without the need for mawkish filmmaking devices.
Dillard’s successes are not solely bound to his craft. He also showcases himself as a compassionate storyteller with a deft eye for human dynamics. “Devotion” registers its best frames when centering its focus on Jesse and his sympathetic peer Tom Hunder. As the first Black Navy aviator, Jesse bears the world’s weight on his shoulders, carrying years of unrelenting racial torment and intense internal pressures to upend society’s expectations of him. Tom enters the Navy as a sympathetic presence to Jesse’s plights. However, he soon realizes that his pleasant niceties cannot fully grasp the challenges facing his aviator partner.
Dillard’s focus on Jesse and Tom imbues remarkably poignant results. In a genre that often fixates on carnage and despair, “Devotion” is refreshingly grounded in the personal connection of two acclaimed aviators developing an affectionate bond defined by mutual respect and empathy. Dillard manifests these frames with remarkable precision, never registering a false note from errant score choices or tacky filmmaking devices.
I also love that most of Dillard’s aerial scenes forgo traditional combat to showcase the pilot’s challenging plane landings. These frames serve as a thoughtful extension of the personal pressures facing both characters as they come face-to-face with their abilities amidst their confined plane cockpits. The intimacy and substantive sentiments imbued into the landing scenes make them captivating moments that don’t require unnecessary gimmicks to be engaging.
Dillard deserves extra praise for elevating a screenplay that endures its fair share of struggles. Screenwriters Jake Crane and Jonathan Stewart collaborate on a serviceable, albeit fairly routine, offering. “Devotion” features an array of overworked attempts at period-era dialogue exchanges and generic side characters, including a forgettable supporting turn from musician Joe Jonas. These elements can’t help but feel like they were shipped in from any other run-of-the-mill war film.
Thankfully, Dillard and “Devotion’s” stirring lead performances always steer the film toward authentic truths. Emerging actor Jonathan Majors boasts the magnetism and gravitas of one of the industry’s finest talents. As Jesse Brown, Majors provides a subdued and deeply affectionate performance. He intimately unearths the undying motivation of a disenfranchised man pursuing his dreams while genuinely reckoning with the years of torment that shadow him throughout his journey. “Top Gun: Maverick” standout Glen Powell also imbues charisma and aching sensitivity into the role of Tom Hunder. Powell boasts the looks and easy-going appeals of a suave movie star, but it’s his adept abilities that expertly dig under the surface of Tom’s well-meaning persona. Both actors form a tender, lived-in dynamic that quickly becomes the ever-beating heart of “Devotion’s” core.
While admittedly old-fashioned, “Devotion” truly takes flight thanks to its well-tempered embrace of character-building over noisy emptiness.
If you made it to the end of this exceedingly long edition, look forward to my best of and worst of picks for 2022 after the holiday period.
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