In his homeland of Alagaesia, a farm boy happens upon a dragon's egg -- a discovery that leads him on a predestined journey where he realizes he's the one person who can defend his home against an evil king.
In order to restore their dying safe haven, the son of Poseidon and his friends embark on a quest to the Sea of Monsters, to find the mythical Golden Fleece, all the while trying to stop an ancient evil from rising.
Brandon T. Jackson
Upon moving into the run-down Spiderwick Estate with their mother, twin brothers Jared and Simon Grace, along with their sister Mallory, find themselves pulled into an alternate world full of faeries and other creatures.
It's a jungle out there for Blu, Jewel and their three kids after they're hurtled from Rio de Janeiro to the wilds of the Amazon. As Blu tries to fit in, he goes beak-to-beak with the vengeful Nigel, and meets his father-in-law.
The world is divided into four kingdoms, each represented by the element they harness, and peace has lasted throughout the realms of Water, Air, Earth, and Fire under the supervision of the Avatar, a link to the spirit world and the only being capable of mastering the use of all four elements. When young Avatar Aang disappears, the Fire Nation launches an attack to eradicate all members of the Air Nomads to prevent interference in their future plans for world domination. 100 years pass and current Fire Lord Ozai continues to conquer and imprison anyone with elemental "bending" abilities in the Earth and Water Kingdoms, while siblings Katara and Sokka from a Southern Water Tribe find a mysterious boy trapped beneath the ice outside their village. Upon rescuing him, he reveals himself to be Aang, Avatar and last of the Air Nomads. Swearing to protect the Avatar, Katara and Sokka journey with him to the Northern Water Kingdom in his quest to master "Waterbending" and eventually fulfill ...Written by
The Massie Twins
Tied with The Twilight Saga: Eclipse (2010) for the most Razzie nominations at the 2011 Razzie Awards, the award show honoring the worst motion pictures of the year. Each film had nine nominations. Airbender was nominated for every category besides Worst Actor and Worst Actress. The movie ended up winning five of the Razzies it was nominated for, including Worst Picture of the year. One of those awards was won by actor Jackson Rathbone, who appeared in both films and thus, was awarded the Worst Supporting Actor trophy for that year. See more »
When the flying lemur jumps on Aang's shoulder, Aang's hands supposedly touch and pet the Lemur. But it is clear that the lemur is computer generated as Aang's hands do not actually touch the creature, they seem to hover about an inch or so above him. See more »
A hundred years ago all was right with our world. Prosperity and peace filled our days. / The four Nations: Water, Earth, Fire, and Air Nomads lived amongst each other in harmony. / Great respect was afforded to all those who could bend their natural element. / The Avatar was the only person born amongst all the nations who could master all four elements. / He was the only one who could communicate with the Spirit World. With the Spirits' guidance the Avatar kept balance in the ...
See more »
The opening production logos are accompanied by bending elements: the stars in the Paramount logo are accompanied by splashes of water, and the Nickelodeon Movies logo is seen ablaze and is cooled down with a blast of air. See more »
How he starts off the film with the twirling, air, fire, earth, shows promise this will be an experimental audio-visual take on its source material. Across the movie, flashes of a vision even arise. Problem is it's all happening inside the auteur's head and he's moving pieces here and there and there's all kinds of amazing things happening in his imagination that the film represents. It comes off much like David Lynch's Dune, which is a compliment in that he doesn't so much as fail he's just out of his element and his interests aren't registering for the rest of us. 'Let us in, please.' It seems it was made with a prayer the cake would come out. Such faith was required for his high-concept genius thrillers, that his complex calculus would read on screen, and the intimacy of those works had always protected him. So in that context of a genuinely different, oft-kilter cinematic thinker--and directors will never be speaking the same language as the audience, just presenting forms for translation--it's fascinating seeing the mystic-director detour into the blockbuster form. I kept remarking the staging and images are so strong as compared to the CGI-fests of today, there is an enticing vividness to a lot of this that might have worked nicely on a more modest enclosed YA tale, like a Harry Potter; in fact with the fire nation casting being stronger than the main trio, there especially was a window into the real film. At other points I felt like a kindergarten teacher saying, 'Oh, wow, good job Night!' in that any of it reading at all was a miracle. Night being who he is, it's inherently a meta reflection of the 'blockbuster' never the real thing, so even flashes of working just feel like this homage.
Basically, Night displays the alien inapproachable of the exceptional that has always shielded him from failure through casting, concept and formula, until audiences really began to pick up on just how different the language he is speaking is, responding with derision, laughter and mockery. Part of this is immigrant-syndrome creates a barrier of communication to the host culture sometimes reading as camp, unintentional comedy or outright weirdness, as Paul Verhoeven's 90s work. How blockbusters need to work is through pragmatism and connection from start to finish, which is why it's done by committee now; when you get a Shyamalan or Snyder it will always be hit or miss since they fail on their own terms and fail big since their mind works through symbol, texture and form. Keep in mind a Spielberg is just as inapproachable and strange, just as isolated by his talent, and certainly as eccentric, but his work reads since his talent just so happens to be in vivid connection and humanity. For Shyamalan it's the occult, the unseen, the mysticism through trauma, the redemption through faith. See how all that could sell his thrillers but not this? Here it only suits the film in the abstract. He's lost. It's why he's so obsessed with that protag twirling the cane, there in a synchronized alignment with the unseen. That, he understands.
5 of 5 people found this review helpful.
Was this review helpful to you?
| Report this