There is not a single scene in Avatar Movie 2009 that doesn’t look astounding and raw: from the heavily militarized human mining colony to the mesmerizing forest planet Pandora that holds an ultra-rare mineral that the humankind desires, to Pandora’s native Na’vi people who are not very pleased about the human’s appearance. In order to understand further the Na’vi, the human beings have created the means to mentally control extraordinary grown avatar bodies that seem much like the gigant, wide-eyed, opaque-skinned Na’vi natives. Sam Worthington (Terminator Salvation) participates in the film as Jake Sully, a paralyzed marine who makes use of one of the avatar bodies so as to blend in and gain the trust of the Na’vi.
Depicting Avatar Movie 2009 as “Pocahontas in Space” would not be too overly exaggerated as Jake’s connection with the Na’vi people adapts the white-man-assimilates-into-Native-American-Indian-culture concept of a large number of post-colonial movies. But, Avatar Movie 2009 is more in sync with Kevin Costner’s Dances with Wolves (1990) rather than those other movies, for example, Michael Mann’s The Last of the Mohicans (1992) or Terrence Malick’s The New World (2005), which both involved a little bit more complex exploration of racial and cultural roots.
Avatar is still a white-man-saves-the-day movie and it is at times found guilty of some rather absurd moments when describing the native Na’vi people as noble-savage kinds. However, deep down in the heart of Avatar Movie 2009 is a simple yet heartfelt environmental and anti-colonial message that takes away all doubt about the movie’s great intentions. Additionally, such complains are just so extremely tiny and weak when comparing to the utter beauty and invigorating visuals at the forefront of Avatar. The shots featuring the great forests and floating mountains of Pandora are genuinely breath-taking, the Na’vi and the avatars look wonderfully realistic, and the series of action is truly the kind of thing viewers have come to expect from writer an director James Cameron.
Cameron has always been at the lead of establishing new standards for refined high quality spectacle cinema with movies, namely The Terminator (1984), Aliens (1986) and Terminator 2: Judgment Day (1991) undoubtedly seen as classic statues of the sci-fi/action category. With Avatar, Cameron not only sets new stakes for the application of CG imagery special effects but also the use of 3D filmography, which provides a full depth of field and is crucial to the texture and sensory influence of Avatar Movie 2009 . Cameron has made absolute no compromises with the film from a technical perspective and in time, Avatar Movie 2009 will likely be seen as a benchmark movie.