Surely, I don’t have to waste a few words on what “Avatar” (2009) is.
By now, just about everyone on Earth, even Pandora—the lush, fictional moon in our neighboring star system, orbiting the fictional planet, Polyphemus—has heard of the James Cameron-directed blockbuster.
I and M. discovered the delights of a 3D cinematic experience later than most folks, barely a few nights ago, at a cost of $17.50 per person. I wish the tickets were less expensive, but it was well worth the money because the movie was entertaining.
As a science-fiction plot, it wasn’t hackneyed. While the typical director juggles tropes like encounters with extraterrestrial beings, disasters in space missions, or invasion of Earth by hostile life forms, “Avatar” goes into an altogether new territory.
It depicts humankind, notably, the U.S. military-industrial complex, as the aggressor, and the aliens, the pacifist Na’vi people, as the attacked race. It’s we who attack them, not the other way round.
At its core is a strong message that a rich ecosystem is wealth, in itself, and the preservation of fauna, flora, and foliage is critical to our well-being, which is another refreshing take on a space flick.
But that said, its greatest draw is its stereoscopic hyperrealism. The bioluminescent plants and animals, the winking holograms, the blockish flying machines, made for absolutely outstanding visual treats.
One beef: the pair of 3D glasses wasn’t as comfortable as I’d expected them to be.