In 2154, the RDA corporation is mining Pandora, an Earth-like moon of the planet Polyphemus, in the Alpha Centauri systemm Parker Selfridge (Giovanni Ribisi), the administrator employs former marines as mercenaries to provide security. The humans aim to exploit Pandoras reserves of a valuable mineral called unobtanium. Pandora is inhabited by a paleolithic species of humanoids with feline characteristics. Physically stronger and several feet taller than humans, the blue-skinned indigenes live in harmony with nature and worship a mother goddess called Eywa.
The film serves multi-dynamic purposes: to entertain, to inspire, to revolutionise, to persuade, to shock and the list extends. The films dynamics are somewhat overwhelming which detracts attention away from the narrative structure, focusing all attention on the visuals which are inspiring at every level. The film is a mere spectacle, visually pleasing for the eye, more than a comprehensible narrative that we can all fully appreciate. You will find yourself indulging in and out of the story, placing the plot fragments together in your mind, serving as an analogy to Jake Sully (Sam Worthington), who places the fragments from Pandora into a logical form that he tries to make full sense of.
Wortthington is a paraplegic former marine who arrives on Pandora to replace his murdered twin brother. He provides a strong, effortless performance, alongside Dr. Grace Augustine (Sigourney Weaver), the head of the Avatar Program, who considers him an inadequate replacement for his brother. The film raises issues around modern aesthetics, contemporary war solutions, imperialism, biological transformations. The list continues. Sigourney Weaver fully embraces the demand needed from her compromising role, and delivers another satisfying, if solemn, performance. The A-list cast did not feel overloaded, as the film offered plenty of space and development for stars to extend their talents, and embrace the demand Avatar needed from their representation of an elite humanity.
The film requires a more specific audience then will at first seem apparent. A family film you may assume, but the film is deeper and more rigorous that a family unit can appreciate, as the film targets certain individuals from the audience, and leaves the others behind. If you get lost in the narrative world, in the jungle, you will fight your own way out. Your peers will be too occupied struggling their own way out, figuring out the loops and holes of the film for themselves. Once lost, however, the aesthetics are left to enjoy. The film is demanding of you, but if you submit to its narrative world, you will not be totally alone, the whole world before your eyes will be there to save you.
The film serves multi-dynamic purposes: to entertain, to inspire, to revolutionise, to persuade, to shock and the list extends. The films dynamics are somewhat overwhelming which detracts attention away from the narrative structure, focusing all attention on the visuals which are inspiring at every level. The film is a mere spectacle, visually pleasing for the eye, more than a comprehensible narrative that we can all fully appreciate. You will find yourself indulging in and out of the story, placing the plot fragments together in your mind, serving as an analogy to Jake Sully (Sam Worthington), who places the fragments from Pandora into a logical form that he tries to make full sense of.
Wortthington is a paraplegic former marine who arrives on Pandora to replace his murdered twin brother. He provides a strong, effortless performance, alongside Dr. Grace Augustine (Sigourney Weaver), the head of the Avatar Program, who considers him an inadequate replacement for his brother. The film raises issues around modern aesthetics, contemporary war solutions, imperialism, biological transformations. The list continues. Sigourney Weaver fully embraces the demand needed from her compromising role, and delivers another satisfying, if solemn, performance. The A-list cast did not feel overloaded, as the film offered plenty of space and development for stars to extend their talents, and embrace the demand Avatar needed from their representation of an elite humanity.
The film requires a more specific audience then will at first seem apparent. A family film you may assume, but the film is deeper and more rigorous that a family unit can appreciate, as the film targets certain individuals from the audience, and leaves the others behind. If you get lost in the narrative world, in the jungle, you will fight your own way out. Your peers will be too occupied struggling their own way out, figuring out the loops and holes of the film for themselves. Once lost, however, the aesthetics are left to enjoy. The film is demanding of you, but if you submit to its narrative world, you will not be totally alone, the whole world before your eyes will be there to save you.
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