Dir: James Cameron
Cast: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Oona Chaplin, Kate Winslet, Cliff Curtis, Jack Champion, Joel David Moore, CCH Pounder, Edie Falco, Jermaine Clement, Giovanni Ribisi
Essentially The Way of Water Part 2, the newest chapter in this epic yet derivative sci-fi saga brings almost nothing fresh to the table , with storylines and character arcs that feel like tired echoes, repeating for the third time
When James Cameron released his sci-fi fantasy epic “Avatar” in 2009, audiences were left awestruck. The film not only helped revive the long-forgotten 3D format, for better or worse, but also soared to become the highest-grossing movie ever—a record it still holds to this day, despite Marvel’s best efforts. Its triumph lay in a dazzling technical feat: conjuring the giant, blue alien species, the Na’vi, through motion capture and immersing them in the lush, alien paradise of Pandora. The spectacle was unlike anything cinema had offered before, drawing millions back to theatres for repeat viewings.
Like most viewers, I was dazzled by the film’s visual wizardry and immersive worldbuilding. Yet, I have always found it hard to truly connect with the franchise, as its environmental themes and storylines feel recycled from earlier works. Jake Sully’s journey—joining a native clan to help humans seize land and a laughably named mineral, Unobtanium—echoes the likes of “Dances with Wolves” (1990), “Pocahontas” (1995), and “FernGully” (1992) so closely that the comparison is not even worth debating. The latter even centres on a sacred tree threatened by human destruction, and while I support any film championing the protection of our planet’s wild spaces, I expect it to offer more than what an animated film managed nearly twenty years prior.
James Cameron has long been a master of the blockbuster, gifting us with action sci-fi classics like “The Terminator”(1984), “Terminator 2: Judgement Day”(1991), and, in my view, the gold standard when it comes to movie sequels, “Aliens”(1986). Yet, his screenwriting seems to have grown more simplistic and cringeworthy over time. Even “Titanic” (1997), his last non-Avatar related project, was weighed down by clunky dialogue, which kept me from ever fully embracing its tragic romance the way others have.
Despite my reservations, the runaway success of “Avatar” made a sequel inevitable; few, however, expected Cameron to unveil plans for five films. After more than a decade, fans finally returned to Pandora with “The Way of Water” in 2022. While the sequel suffered from some of the same flaws, I appreciated Cameron’s effort to keep the worldbuilding vibrant by introducing an aquatic Na’vi and their inner workings and lifestyle. Advances in visual effects over the thirteen-year gap allowed for mesmerizing underwater scenes that rekindled the original’s magic while offering something new. Now, just three years later, the franchise returns with unprecedented speed, thanks to “The Way of Water” and this third instalment, “Fire and Ash”, being filmed back-to-back—a decision that unfortunately shows. Unlike its ground-breaking predecessors, “Avatar: Fire and Ash” feels like a re-tread, lingering in the same watery corners of Pandora as before.
Set in the aftermath of “The Way of Water”, Jake Sully (Sam Worthington) and his family are haunted by the loss of Neteyam. Neytiri (Zoe Saldana), consumed by grief, finds her sorrow twisting into a fierce hatred for the humans she blames for her son’s death. Fearing for their adoptive son Spider (Jack Champion) as his oxygen supply dwindles, Jake and Neytiri resolve to leave the Metkayina water village and journey together as a family to the Omaticaya tribe. Their path is fraught with peril: as they soar across Pandora on a convoy of flying merchant ships, they are ambushed by the ruthless volcano-dwelling Mangkwan tribe, led by the formidable Varang (Oona Chaplin), who scorns the spiritual ways of Eywa, the deity-like consciousness that connects the whole of Pandora.
Heading into “Avatar: Fire and Ash”, my expectations were low—since I’ve never been swept up by the franchise —but I always try to give each film a fair shot. Fans of the first two movies will likely revel in this latest chapter, which feels less like a bold new adventure and more like “The Way of Water: Part Two”, especially since the story picks up right where the last left off, anchored in the water village of Metkayina and the Tulkun-filled seas. While I found some magic in these settings before, returning to them yet again drains the film of its visual wonder, making it the least captivating of the trilogy. Cameron’s choice to shoot in a higher frame rate only adds to the disconnect, stripping the action of its weight and grandeur. As Na’vi and humans clash in the skies, the battles feel flat and oddly weightless, feeling even more like a video game than a cinematic spectacle. The technical wizardry on display is undeniable—Cameron and his visual effects team have set a new bar for CGI—but it all feels hollow if the world itself fails to leave a mark.
What drags the film down most is its relentless recycling of old ground. While the first “Avatar” borrowed heavily from earlier works, “Fire and Ash” even rehashes narratives and character arcs that have already played out in the franchise itself. It doesn’t just echo the past—it replays it almost beat for beat, especially from “The Way of Water”. The compelling rivalry between Jake and Quaritch has grown monotonous and stale, as Jake or his loved ones are captured by Quaritch, only to be rescued yet again, and it quickly loses its edge and sense of danger. Even Quaritch himself has become a running joke, dying and returning so many times that his presence feels more like a plot device than a real threat. How can any stakes feel real when death is shrugged off, and characters’ losses barely register? There’s even a glaring moment in the climactic battle where a supporting character dies, but the film barely pauses to acknowledge it. And with Eywa’s magic, you can just visit your lost loved ones whenever you like, so what’s the point of loss at all?
Cameron seems to be juggling too many balls at once, cramming in new characters and recycled plotlines without giving any of them space to breathe. The new villain, Varang, is a prime example. Oona Chaplin brings an undeniable presence to the role, but her character and tribe are left frustratingly underdeveloped. Despite the film’s subtitle hinting at their importance, we learn almost nothing about their motives or history—they’re simply bad for the sake of being bad, and their rejection of Eywa is never really explored. Their volcanic home of ash and brimstone could have been a visual feast, but it barely gets any screen time. Instead, we’re stuck revisiting the water tribe yet again. Honestly, the film would have been stronger if it had side-lined the humans this time, letting Varang and her clan take centre stage as true Na’vi antagonists. With two more movies on the horizon, there’s plenty of time to bring Quaritch and the humans back later.
Even with a runtime stretching past three hours, Cameron squanders the chance to dive into the film’s most intriguing characters. Out of a sea of bland and forgettable faces, Neytiri once again stands out as the franchise’s enduring heart, brought to life once again by Zoe Saldana’s fierce performance. She’s been the soul of these movies from the start, and her presence is what keeps me invested, even as her own story fades into the background. Instead of giving more depth to Neytiri, Varang, or even Kiri—whose mysterious connection to Eywa is barely touched on—Cameron chooses to spotlight one of the most grating characters I’ve encountered in years: Spider.
Somehow, this obnoxious, insufferable brat has been thrust into the spotlight as the human star of the franchise. There is a glimmer of intrigue in the idea of reverse engineering his breathing abilities, but my indifference toward him as a character drains the story of any impact. He is utterly unlikable, and while Jack Champion is not solely to blame, his performance only deepens the problem with some of the flattest emotional delivery in the series. Even when his life hangs in the balance, or worse, when Jake—whom he sees as a father—might sacrifice him, his lack of real emotion borders on absurd. It is hard to imagine a weaker performance in a major Hollywood blockbuster. Even if I were invested in this franchise, Spider’s growing presence would be enough to send it spiralling.
One last gripe—and I doubt it is just me—but the whole “Avatar” universe feels uncomfortably sexualized, almost as if it’s catering to Furries or Cameron’s own cosmic fantasies. It’s easy to forget that Jake and Quaritch started out as humans, and seeing them in Na’vi bodies engaging in intimate moments with the alien species just feels off to me. To each their own, but I can’t shake the sense that some viewers are drawn to “Avatar” for reasons beyond the story, and the film’s sensual undertones, constant groaning, and the way characters connect through their queues all strike me as a bit unsettling.
The Verdict:
James Cameron’s sweeping sci-fi saga seems to be losing its spark, with the once-dazzling spectacle now feeling overused and its recycled plotlines growing stale. While its technical brilliance still shines and loyal fans will surely revel in it, the franchise feels like it is running on fumes and may struggle to keep audiences engaged for two more instalments.
Dan Loves Film 
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