Avatar (2009)

The mission Avatar assigns both hero and viewer is one and the same: transportation to a vibrant and dangerous world filled with natural wonder and allure. James Cameron achieves this with medium-defining success. The world of Pandora is brought to life in vivid color, seen both in the hyper-neon rainforest and the incredibly inventive and eye-catching bestiary. Of note are the beautifully mottled and modeled ikran that the Na'vi use to fly, and the vicious predator that pursues Jake through the jungle early on.

The virtual cinematography is among the best there is, with dramatic zooms, aerial shots, and close-ups of characters all at the right times. Excellent structure keeps the film feeling accessible and digestible, with pacing so precise that the audience forgets they're watching a movie altogether.

Unfortunately, hamfisted story elements, such as the obvious parallel between the humans and post-9/11 America, and the presence of a white savior narrative, disrupt an otherwise immersive experience. In the case of the human characterization, a direct reference to the war on terror is made, taking the viewer out of the setting and into a political argument. In the case of Jake acting as a white savior, the main problem here is not one of morality but credibility. Why on Pandora would the Na'vi trust him? This makes us question the believability of his whole story.

Despite this, the criticisms are meager when compared with the film's achievements. Vast in scope, varied in visuals, and achieving a high level of photorealism, Avatar promises a voyage to a distant moon with colors you've never seen. And it delivers.