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James Cameron

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Trinity Bliss, as Tuk, in a scene from Avatar: The Way of Water. Photo courtesy of 20th Century Studios

Reviewed by Jeffrey Sanzel

Released in 2009, Avatar took in over $2.9 billion, making it the highest-grossing film of all time. The brainchild of James Cameron, who wrote, directed, and produced, Avatar received nine Academy Award nominations and won three: Best Art Direction, Best Cinematography, and Best Visual Effects. It won the Golden Globe for Best Motion Picture and Best Director, and garnered other major awards and nominations.

Over a decade later, Avatar: The Way of Water arrives in theaters with many of the same strengths: exceptional visual artistry, extraordinary special effects, and thrilling action sequences. This time, Cameron collaborated with Rick Jaffa and Amanda Silver on the screenplay (with “story by” credits adding Josh Friedman and Shane Salerno). 

Avatar: The Way of Water, a spectacle of the first order, is many things. It is also too long. Whether by twenty minutes or an hour and twenty minutes, this epic desperately sags in the middle. The original Avatar is a long film that runs two hours and forty-two minutes. Avatar: The Way of Water clocks in at three hours and twelve minutes. Is this too much of a good thing or just too much? The reality is that it is an unnecessarily extended three hours. That said, for the pure beauty of vision, it lands in the win column.

Much of the film plays like a reboot of Avatar, except this time underwater. As a result, it plays the assumption of an audience familiar if not fully aware of the background. (To a certain extent, the history is referenced and recapped in the first thirty minutes.) 

The story picks up fifteen years following the end of the first film. Jake Sully (Sam Worthington) is now chief of the Pandora tribe Omaticaya, raising a family with his wife, Neytiri (Zoe Saldaña). They have two sons, Neteyam (Jamie Flatters) and Lo’ak (Britain Dalton), daughter Tuk (Trinity Bliss), and adopted daughter Kiri. The latter was born from Grace Augustine’s (Sigourney Weaver) inert avatar. Added to the family mix is a human boy, Spider (Jack Champion), who is the son of Colonel Miles Quaritch (Stephen Lang).

The Resources Development Administration (RDA) has returned to Pandora to pave the way for human colonization for a dying Earth. Na’vi avatars have been implanted with the minds and memories of deceased soldiers, with Quaritch ruthlessly leading the group. After Sully leads an attack on the RDA, Quaritch captures Jake’s children. Sully and Neytiri rescue them, but Quaritch realizes that Spider is his son and draws him in to help with his knowledge and navigation of the Na’vi. 

Meanwhile, Sully and his family flee the Omaticaya forest and hide with the Metkayina, a clan spiritually connected to the sea. While initially rejected by the Metkayina, the family eventually integrates. After a series of adventures and clashes, the film builds to a staggering thirty-plus-minute climax of jaw-dropping action. 

Thematically, like its predecessor, Avatar: The Way of Water addresses larger issues. While not approached with any subtlety, the concept of wanton plundering of natural resources and the callous destruction of an indigenous people play clearly. 

Likewise, the unwelcome and unwanted outside force annihilates for commercial gain. Embodied by the RDA’s almost carelessly sadistic General Ardmore (Edie Falco), the military destroys everything in its path. Whether devastating wildlife or destroying homes, the overwhelming and relentless insensitivity is always at the center.

The acting is fine—neither terrible nor remarkable. While the Na’vi are CGI-ed, the characters relate a range of expressions matching the vocalized emotions, allowing the viewer to believe them to be as real as their human counterparts. In addition, the meticulous detail accomplishes more than just ciphers but individuals with drive, humor, fears, and desires. 

Lo’ak (Britain Dalton) with Payakan. Photo courtesy of 20th Century Studios

The filmmakers have done miraculous work in the creation of sea creatures. Particularly wonderful is Payakan, who rescues one of Sully’s children. Payakan is a Tulkun, an intelligent aquatic mammal (resembling a whale). The creators have embodied this creature with a reality that makes it noble and sympathetic. Again, the film’s strength is in imaginative world-building.

At its heart, Avatar: The Way of Water wants to celebrate family and community and the ends to which we go to protect those we love. The story strives for honesty and integrity, enhanced by astonishing visuals. And while the running time is excessive (and perhaps off-putting), the final film is still a work of art. And if not great art, the film is spectacular craft. 

Rated PG-13, the film is now playing in local theaters.

New documentary examines the future of artificial intelligence               and the impact it will have on our world.

Reviewed By Jeffrey Sanzel

We Need to Talk About AI is an intriguing and occasionally alarmist documentary that explores the historical and current developments in Artificial Intelligence. It raises far more questions than it even attempts to answer and that, most likely, is its point.  The title’s urgency is appropriate to this peripatetically engaging ninety minutes.

Director Leanne Pooley has conducted extensive interviews with scientists, engineers, philosophers, filmmaker James Cameron, and a whole range of experts, along with dozens of clips from news broadcasts and nearly one hundred years of science fiction movies. The film plays at a breakneck pace, fervently bouncing from one opinion to an alternate point-of-view.

Currently streaming On Demand, the documentary is appropriately hosted by Keir Dullea, who gives a dry menace to the narration and occasionally appears walking through crowded streets like a being from an alternate universe. Dullea is best known as astronaut Dave Bowman in Stanley Kubrick’s landmark 2001: A Space Odyssey (1968).  Pooley uses the film’s HAL (Heuristically Programmed ALgorithmic Computer) as the example of man’s greatest fear in the world of AI: a computer that becomes sentient and will no longer obey its human creators.

The early days of AI work seems almost quaint in comparison to latter-day capabilities.  Much of this can be traced to the advancement in the computer technology and the rise of the internet. The internet’s considerable expansion in the last two decades has been the greatest gamechanger. 

A constant refrain is that the dialogue surrounding AI has been “hijacked” by Hollywood: the majority of the populace associate AI in negative terms. It is about the rebellion of manmade machines (e.g., The Terminator). The scientists are in agreement that this is a misrepresentation. That is, they are for the most part. As the film progresses, the views on the dangers of AI diverge.

It all comes down to the question of conscience and autonomy. There is a dissection of the issues behind self-driving cars and how to embed ethics into the machine. The Trolley Problem — how do you decide who to save —  is used to demonstrate the challenge. To make the decision, the machine would have to be a conscious being. 

Furthermore, can a machine be conscious or have a conscience? The idea of conscious and conscience becomes central.  As it is almost impossible to define what “conscious” is, it creates additional conflicts in the narrative. This leads to conversations on emotion and whether machines will ever be able to feel and react to social cues.  

The film poses many hypotheses and explores the predicament from all sides. There is rarely uniform agreement. Can a machine make itself smarter by programming itself? Will the evolution be gradual or exponential?

Even now, robot surgery, agriculture, and even Facebook’s suicide awareness algorithms are examples given of the recent uses of AI. Computers can now beat the world’s greatest chess players. Not that many years ago, these were considered impossible outside of speculative fiction.

Throughout, Pooley returns to the teaching of Baby X, an intelligent toddler simulation that is both fascinating and chilling. Baby X almost seems human and appears to be learning. It is a strange and exciting phenomenon.

Already, the argument is made that we carry less in our brains because we carry parts of them in our pockets in the form of cell phones. In essence, they are the merging of minds with computers. They are an augmentation and a symbiotic integration. 

Ultimately, it comes down to not so much how we build AI but what we do with it. The unifying position of the interviewed is the fear that this power will be used for evil — or at least negative purposes. (Pooley unsubtly does a quick montage of the world’s foremost demagogues.) 

The consensus is that it should not be about who arrives first but who gets there safely. They hope but doubt for regulation. If it is corporations or business (Google, Microsoft, etc.) that get primary control, it will be driven by greed. If it is the military, it will be about killing. They say we only have one chance to get it right, and the leader in the field must, in essence, be the good parent. AI will dominate the economy and, therefore, the world. 

There are myriad questions raised: What it means to be human? If machines become more, will we be become less? Is AI going to do something for you or to you? Is science fiction the canary in the coal mine? That is, do we face the apocalypse if AI doesn’t play out the positive scenarios?

And then there are the moral questions. Can machines be made accountable? Does a machine have rights? If so, is this a form of slavery, where conscious beings are created and then dehumanized? There is a brief section about the rise of sex robots that is twinned with a clip from the 1927 silent film Metropolis. Can a machine say, “No?”

Perhaps we have come a long way from the science fiction movies of our past. Maybe we will never face the voice of HAL saying, “I’m sorry, Dave. I can’t do that.”

Or perhaps we will.  

The final line sums up the entire journey:  “What do we want the role of humans to be?” We Need to Talk About AI is a great place to start.