Avatar 2: The Sequel

I don't want to wait 10 years to review the sequel to Avatar (2009), so I thought I'd pick up on some of James Cameron's main ideas and make my own sequel to review.

My Avatar 2: The Sequel begins with crowds jeering and spitting on the defeated corporate warriors as they return to earth.  The President declares that this defeat shall not stand.  Determined to lick that Pandora thing, corporate America returns to Pandora in force.  They use germ warfare this time, the kind of germs that have always worked on natives.  Measles bring the Na'vi to the brink of extinction.

After a few scenes that establish the brutality of the corporate invaders -- things like soldiers handcuffing Na'vi kids and shooting them -- the Na'vi and the anti-colonial human scientists who stayed behind on Pandora use the Avatar machines to create human avatars for the Na'vi and take the battle to earth.

Jake and Neytiri lead a band of avatars who hijack a couple of spaceships and crash them into New York City and Washington, D.C., killing millions and wiping out the government, while the Na'vi snooze comfortably in their pods.  Unfortunately, wiping out millions of bad guys doesn't stop the measles, and the Na'vi, including Neytiri and Jake, whose parents were vaccine deniers, die off anyway.

I believe that recycles enough themes and situations to be a hit while maintaining at least a semblance of historical reality, so let's review it.

Cameron has done it again!  And he has finally figured out how to use the subjective POV to exploit 3D.  Megan Fox rocks as Neytiri's human avatar.  You know the rest.

The Hurt Locker May Have A Chance After All

(AP Photo/Bernat Armangue)

Just when I thought Kathryn Bigelow's The Hurt Locker didn't have a chance to win the Academy Award for Best Picture, the AP reports that some pesky Palestinians have decided to get into the act. Palestinian protesters at Bil'in have painted themselves blue and posed as characters from Avatar.  Apparently, the demonstrators equate their fight at Bil'in to the Na'vi's fight against intergalactic corporatism in Cameron's film.

With the Best Director Oscar already in the bag for Bigelow, Cameron now finds his Best Picture Oscar in jeopardy. Hollywood needs 3D, but do they need it enough to associate themselves with a film that's been picked up on by those controversial Palestinians?

Could be a sweep for Bigelow.

Dreams

I never lose in my dreams. I can be running in mud or water up to my knees, get lost, try to wake up and can't, get tied up, feel like I’m going to die, but I never wake up until I win. Maybe I'm running down an alley. Something is chasing me. It's a couple of ugly guys, driving a big combine. The blades are right behind me. I'm running out of breath. All of a sudden, I dance up the blades like Gene Kelly, doing a little dance on every blade. I grab the guys and toss them into the blades. Blood and gore hit me in the face and I wake up. Now that's a good dream, if you don't analyze it too much. I like the feeling of that gore hitting me in the face. I like being me and the combine and the blades, even the alley.  But the two guys?  Not so much.

Or maybe I'm carrying my own body around, eating on it. Across streams. Under bridges. There's a castle full of women, eating carry-out orders from a restaurant. I lose my body; find a stray dog in the basement. I awoke from that dream feeling too disturbed and elemental to understand the simplest rules of human behavior. I thought nothing is true. Everything is permitted.

Nowadays, I think most dreams are so straightforward they don't need free association to make sense. Suppose you're making love to a woman. You reach down and feel teeth inside her vagina. That's the old vagina dentata. I've had that dream a time or two. It's a good dream if you like to wake up scared.

Bergman

Turner Classic Movies has Bergman on all night, beginning at 9:00 PM Eastern with The Seventh Seal, followed by Wild Strawberries and Persona.

The Criterion Collection is releasing The Seventh Seal on DVD in a couple of weeks.

The Seventh Seal is the first Bergman film I saw. I saw it at a foreign film theater just off-campus when I was a college freshman in Lubbock. They ran And God Created Woman a week later, and I was hooked on foreign films until the '80s when, for reasons I can't explain, except for the films of Tarkovsky and a couple of other directors, I lost interest in them. Maybe it was because my directors had died off or petered out.

I think of Persona and Cries and Whispers as Bergman's masterpieces, but The Seventh Seal was my first encounter with the collision of idealism and naturalism in film. To my romantic 18-year-old mind, the knight, Antonius Block, and Death were fascinating allegorical figures. They were in the natural world, but not of it. As I grew older, I was drawn more and more to the rich natural world of Bergman's films, but, in the beginning, like Block, I imagined a life of the intellect was superior to a life of the flesh.