ADVERTISEMENT

    Spoiler Free Avatar: The Way of Water Review, Plus Other Movie Options

    James Cameron brings the big blue back to the big screen and mainly everyone else stays out of his way. If you’re kicking around seeing the latest Avatar, we have some thoughts. If you hoped to see something else this weekend, well, we have some ideas for that as well.

    ADVERTISEMENT

    Avatar: The Way of Water

    In theaters

    by George Wolf

    Week after week, really good films telling solid, compelling stories have been debuting in movie theaters and sinking like streaming-bound stones. What’s it gonna take for movies not named Top Gun to move people off the couch and back into the cinema?

    James Cameron thinks the answer is to provide a sensory experience you just cannot get anywhere else. And on that front, Avatar: The Way of Water is a resounding success. See it on the IMAX screen, with the 3D glasses on your face, the thumping Dolby in your earholes and the high frame rate injected in your eyeballs and you’ll be transported to a theme park-like world of technical wonder.

    The storytelling, on the other hand, is all wet.

    Since we last left Jake Sully (Sam Worthington) over ten years ago, he and Neytiri (Zoe Saldana) have formed a happy family among the forest people of Pandora.

    Their peace is shattered by a new invasion from the sky people, with a Na’vi clone of Colonel Quaritch (Stephen Lang) out to settle an old score. To keep the Na’vi from the fight, Jake and family flee to a village of the water people (including Kate Winslet and CCH Pounder) that’s led by Tonowari (Cliff Curtis).

    But just as the forest family is bonding with their new water world, Quaritch and his troops come calling for a showdown.

    You know who realized they shouldn’t run, that war would follow them and put others at risk? Neytiri did, the latest in a long line of smart women in James Cameron movies who no one listens to. That’s not the only throwback to Cameron films you may notice. Aliens, The Abyss and Titanic are all over this film, and why not? Everybody else steals from them, why not Cameron?

    The problem is not that he borrows from himself, but that he repeats himself. Scenes replay the same beats again and again. There’s so much wasted narrative space in this three-plus-hour film, and yet voiceover narration explains what that space could have been used to show.

    And that’s the ironic weakness that consistently keeps Avatar 2 from resonating beyond surface-level amazement. Cameron (who also co-wrote the script) shows us so many wonderful delights, but precious few of them advance any investment in character, theme or narrative. It’s not that the ideals hitching a ride with the wizardry aren’t worthy, it’s just that they’re slapped together with so much obviousness and redundancy.

    As the long-promised follow-up to the all-time box office champ, and carrying a budget in the hundreds of millions with several more sequels in the pipeline, there was already plenty riding on Cameron’s new vision. But a big return for TWOW could fast-track a bittersweet bargain. The days of a rising tide at the multiplex lifting all boats seem to be fading fast, and one more huge wave might not leave room for anything on the big screen that’s less than pure spectacle.

    Grade: B-

    Utama

    At Gateway Film Center

    by Hope Madden

    Per Quechua tradition, when a condor decides its life has lost its purpose, it flies to the top of the mountain, then closes its wings to die on the rocks below. It’s a heavy metaphor, and one that suits not only Utama’s hero Virginio (José Calcina) but perhaps the entire Quechua way of life.

    Virginio and his wife Sisi (Luisa Guispe) live in the Bolivian highlands where they keep a small herd of llamas. But it’s been months since it rained. The well in the town several miles away is dry, and now Sisi has to make an even longer walk to a faraway river. Even the snow at the top of the mountain is gone.

    To make matters worse, Virginio’s cough has gotten deeper and more insistent. Their grandson Clever’s (Santos Choque) unexpected visit further throws the pair’s generally calm and simple life into chaos.

    In a stunning feature debut, writer/director Alejandro Loayza Grisi develops this simple premise into both an intimate tale of survival and a global allegory of time, change and destruction.

    Gorgeous Bolivian panoramas tell half the tale on their own, and the filmmaker’s framing is exceptional. Unlikely heroes disappear Eastwood-like into sunsets, jauntily festooned llamas crane their necks curiously about. Each splash of color feels like an act of bravery. Cinematographer Barbara Alvarez merges joy and sorrow in every image, her execution of Grisi’s vision simultaneously serene and forbidding, but always gorgeous.

    Sweetly heartbreaking performances from Guispe and Calcina deliver lived-in, enduring love that ensures the tale never tips too far toward symbol. You care deeply about what happens to these two. The authenticity of their work gives the film an almost documentary feel that only deepens its effect.

    Beautiful beyond measure but never showy, deliberate, and set among elderly people of a tiny community high in the hills of Bolivia, a film like Utama feels impossible.

    Grade: A-

    Onoda: 10,000 Nights in the Jungle

    On VOD

    by Hope Madden

    In 1974, Hiroo Onoda found out World War II was over and that he could return to Japan from the Philippine jungle where he’d been hiding since 1944. This is true. This happened. And it feels like such a tragic squandering of a lifetime that you almost have to cling to the absurdity of it, make it a joke.

    Instead, French filmmaker Arthur Harari mines Onoda’s story to examine the more universal if romantic theme of finding meaning in your own life.

    Across nearly three hours we travel with Onoda, from the drunken dishonor of his recruitment – he’d been rejected as a pilot because he was afraid to die – through the training that would make him believe in his singular mission, on to that mission and the decades of reimagining reality to create something in keeping with that mission.

    Harari’s film glides easily from war story to survival tale to odd couple bromance, each shift marking a passage of time and a new reality for Onoda.

    Almost immediately upon landing in the Philippines, Lubang Island fell to the Allies. Onoda, a novice intelligence officer, convinced six men to remain with him rather than surrendering, assuring the troops that their mission was to regain control of the island no matter the circumstances.

    Onoda – as portrayed in youth by Yûya Endô but in particular in mournful old age by Kanji Tsuda ­– is a mixture of sorrowful elegance rarely depicted with such humanity in a war film. The vulnerability both actors bring to the role creates a soldier worthy of empathy rather than mockery.

    Onoda’s second in command, Kozuka – whether played in youth by Yûya Matsuura or in maturity by Tetsuya Chiba – becomes the bold and tender heart of the film. Passionate and foolhardy, he’s a wonderful counterpoint to Onoda’s quiet discipline. Both pairings of actors create compelling rapport, but Tsuda and Chiba are especially heartbreaking.

    Eventually, of course, Onoda is found. A tourist of luxurious means (Taiga Nakano) put finding Onoda on his list of must-dos, right up there with finding a Yeti. Once found, the tourist’s flippant privilege in the face of Onoda’s unimaginable loss and confusion perfectly encapsulates the shift in cultural ideals and the sheer self-congratulatory idiocy of the 1970s. But with limited screen time, Nakano acquits his generation nicely.

    Harari’s film is lovely, heartbreaking and respectful. Onoda becomes not just an anomaly, an oddity, but an image of a generation lost and a promise forgotten.

    Grade: A-

    High Heat

    On VOD

    by George Wolf

    Ana (Olga Kurylenko) is a high-end chef with a particular set of skills leftover from her past, so High Heat also offers a slice of Taken. But honestly, Die Hard is just easier to have pun with.

    Okay, I’m done.

    And there is some shoot-’em-up fun to be had with this film, you just have to wait for Ana’s old KGB partner to show up.

    But first, it’s opening night at the restaurant Ana co-owns with her husband (not her Dad) Ray (Don Johnson). It’s a pretty successful debut, until some mafia goons show up to burn the place down and settle Ray’s massive debt with an insurance payoff.

    And before you can 86 the sea bass, Ana’s dispatching the hitmen so quickly that big boss Dom (Dallas Page) has to call in some mercenary backup.

    But Ana has a friend to call, too. It’s Mimi (Kaitlin Doubleday), who’s still mad about being ghosted when Ana (or is it “Anya?”) left the Russian spy game. Mimi might be more inclined to hurt Ana than help her, but she’s on her way, along with her getting-in-touch-with-his-feeling hubby Tom (Chris Diamantopoulos) and their teenage twins (Bianca and Chiara D’Ambrosio).

    And it’s that nuttily contrasting family dynamic that delivers on the promise of director Zach Golden’s breezy, stylishly throwback opening. Doubleday and Diamantopoulos supply the chemistry here, and along with Jackie Long as a mob masseuse in way over his head, give the film the jolt it needs to avoid being completely forgettable.

    Even so, James Pedersen’s debut screenplay feels slight. High Heat struggles to find enough padding for even an 84 minute running time, and will probably fade from the menu pretty quickly. But when it does, maybe Golden and Pedersen will recognize the potential in their side dishes.

    Re-tool this project into some cable-ready episodes starring Mimi, Tom and the twins, and you might really get something cooking.

    Grade: C

    Listen to George, Hope and Schlocketeer Daniel Baldwin run through all of this week’s reviews plus new movie news on THE SCREENING ROOM PODCAST.

    ADVERTISEMENT

    Subscribe

    More to Explore:

    Gateway’s New Program Celebrates Women Making Horror

    Hot on the heels of Gateway Film Center’s frosty...

    Cinema Columbus Returns to Venues Across CBUS

    Cinema Columbus returns to local theaters beginning Wednesday, April...

    Loads of Spooky Goodness for March

    So much spookiness to choose from this week: family-friendly,...

    Concert Preview: Sleater-Kinney at Newport Music Hall

    Little Rope is the 11th studio album from veteran...

    Beat Bazaar Creates New Space for Columbus Producers

    On February 23, The Kutt Record shop filled with...
    George Wolf
    George Wolf
    George Wolf is a member of the Columbus Film Critics Assoc. and a freelance contributor for Columbus Underground covering film. George can also be heard on Columbus radio stations Rewind 103.5, Sunny 95, QFM96 and Mix 107.9.
    ADVERTISEMENT