Twentieth Century Fox Film Corporation | Release Date: December 16, 2022 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
45
Mixed:
21
Negative:
2
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Critic Reviews
Spending more than a decade pining for Pandora was worth it. Cameron has delivered the grandest movie since, well, “Avatar,” and with an over-three-hour runtime that never sags. What better way for struggling cinemas to regain their footing than with a gargantuan film that so celebrates the glory of the big screen?
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There is something comforting about the fact that we are capable of intense, collective cultural whiplash. That “who cares?” can turn to uncynical amazement in an instant. Is that the magic of the movies? Of continuing to push the bounds of the big screen experience? Of betting big on weird-sounding stories about giant blue environmentalists instead of superheroes every so often? Maybe it’s just the magic of James Cameron.
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The Way of Water’s true achievement is that it looks like nothing else but the first Avatar, unparalleled in detail and scale, a devouring enterprise all to itself. Watching The Way of Water can at times feel astonishing, as if the brain gapes at the sheer amount of physical data present in every frame, incapable of consuming it, but longing to keep up.
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ColliderDec 13, 2022
In three hours, Cameron turned this Avatar nonbeliever into a viewer who can’t wait for a new sequel every two years. Avatar: The Way of Water truly feels like a fresh start for this series, as Cameron and his team address the weaknesses of the first film, improving the script and characters, while also creating one of the most extraordinary experiences one can have at the theaters.
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The Way of Water makes clear that Cameron no longer needs to leave the confines of this (virtual) extrasolar moon in the Alpha Centauri system to create something closer to the heart. He can bend Pandora to his will, and now he’s bent it to make what might be his most earnest film to date.
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Watching The Way of Water, one rolls their eyes only to realize they’re welling with tears. One stretches and shifts in their seat before accepting, with a resigned and happy plop, that they could watch yet another hour of Cameron’s preservationist epic. Lucky for us—lucky even for the culture, maybe—that at least a few more of those are on their way.
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The Way of Water is like its predecessor: sincere to the point of being brash, wide-armed and open-hearted toward the world it loves and vengefully, comically violent toward the people who arrive to destroy that world. It’s a better movie than the first outing because Cameron lets things get weirder, wilder.
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In terms of narrative sophistication and even more so dialogue, this $350 million sequel is almost as basic as its predecessor, even feeble at times. But the expanded, bio-diverse world-building pulls you in, the visual spectacle keeps you mesmerized, the passion for environmental awareness is stirring and the warfare is as visceral and exciting as any multiplex audience could desire.
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Its plot is hacky; it’s got some really clunky characters; the dialogue is, at times, unthinkably stupid. (“The way of water connects all things” is the kind of line that sounds profound until you really think about it.) But this new Avatar filled an awe-shaped void in my heart, and for that, I thank James Cameron.
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His passion is infectious and his enthusiasm for environmental causes commendable, but the movie’s metaphysical and sociological aspirations sometimes come off as cringe-inducingly similar to those that might be expressed by a white lady running a healing-crystal shop in a seaside town.
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I’m curious, and inclined — as I was in 2009 — to give this grand, muddled project the benefit of the doubt. Cameron’s ambitions are as sincere as they are self-contradictory. He wants to conquer the world in the name of the underdog, to celebrate nature by means of the most extravagant artifice, and to make everything new feel old again.
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At its height, it feels exhilarating. But not all the way through. Cameron, in "The Way of Water," remains a fleet and exacting classical popcorn storyteller, but oh, the story he’s telling! The script he has co-written is a string of serviceable clichés that give the film the domestic adventure-thriller spine it needs, but not anything more than that.
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The action in “The Way of Water” is ultimately overwhelming, betraying an uncomfortable truth about Cameron: He might preach environmentalism and balance, calling on Indigenous peoples for their gentle worldviews and material culture. But at heart, he’s just as aggressive and all-commanding as the bad guys he portrays with such oorah swagger.
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For all its sententious grandiosity and metaphorical politics, “The Way of Water” is a regimented and formalized excursion to an exclusive natural paradise that its select guests fight tooth and nail to keep for themselves. The movie’s bland aesthetics and banal emotions turn it into the Club Med of effects-driven extravaganzas.
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A lumbering, humourless, tech-driven damp squib of a movie, this long-awaited (or dreaded?) sequel to one of the highest grossing films of all time builds upon the mighty flaws of its predecessor, delivering a patience-testing fantasy dirge that is longer, uglier and (amazingly) even more clumsily scripted than its predecessor, blending trite characterisation with sub-Roger Dean 70s album-cover designs and thunderously underwhelming action sequences. In water.
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The film not only rejects any criticisms – and there are many! – of the first film, but doubles down on them, delivering an even more hokily disjointed narrative, ramping up the sentimental cut-aways of human/animal camaraderie, and ramming unearned, broad-brush emotion down the viewer’s throat like so much salty popcorn.
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