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Avatar::The Way of Water Review: James Cameron’s Unique-Sequel Delivers with cinematic marvel, Stunning Action,Strong Emotion and Terriffic Thriller Visuals..

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Sam Worthington and Zoe Saldaña return to Pandora with a Na’vi family to protect as the “Sky People” menace follows them to a bioluminescent ocean hideout.

James Cameron knows his way around a sequel. With Aliens and Terminator 2: Judgment Day, he showed he could build on the strengths of franchise starters with brawny action, steadily ratcheted tension and jaw-dropping technological invention. He’s also a storyteller very much at home in H2O, harnessing both the majestic vastness of the oceans and the icy perils of the deep in Titanic and The Abyss.

So it should surprise no one that Avatar: The Way of Water — which includes echoes of all those earlier films — is a hugely entertaining follow-up to the 2009 sci-fi eco-thriller that remains the top-grossing movie of all time.

What’s most astonishing about The Way of Water is the persuasive case it makes for CGI, at a time when most VFX-heavy productions settle for a rote efficiency that has drained the movies of much of their magic. Unlike other directors who have let technological experimentation at times smother their creative instincts — Robert Zemeckis and Ang Lee come to mind — Cameron thrives in the artifice of the digital toolbox.

Working in High Dynamic Range at 48 frames per second, he harnesses the immersive quality of enhanced 3-D to give DP Russell Carpenter’s images depth and tactile vibrancy. Skeptics who watched the trailer and dismissed the long-time-coming Avatar sequel as a videogame-aesthetic hybrid of photorealism and animation that ends up looking like neither may not be entirely wrong. But the trippy giant-screen experience, for those willing to give themselves over to it, is visually ravishing, particularly in the breathtaking underwater sequences.

How much you care about the fate of a bunch of outsize blue people will depend on your appetite for a sci-fi survival story that draws from classic Westerns while upping the stakes with the threat of genocide. Either way, this is a big movie, monumental even, that justifies its three hours-plus of screen time and its mammoth financial investment.

The story picks up more than a decade after Marine veteran Jake Sully (Sam Worthington) began living on the extrasolar moon Pandora in the Indigenous Na’vi form of his genetically engineered avatar. He and his warrior wife Neytiri (Zoe Saldaña) have raised a family in the meantime, including teenage sons Neteyam (Jamie Flatters) and Lo’ak (Britain Dalton), their tween sister Tuk (Trinity Jo-Li Bliss) and adopted daughter Kiri (Sigourney Weaver), the biological child of the late Dr. Grace Augustine’s avatar.

While his connection to the Pandorans runs deep, he’s a walking preview of conflict to come in future installments as his loyalties are divided. The identity of his dad doesn’t remain a mystery for long.Cameron seems to be paying tribute to the Indigenous people of the Avatar productions’ host country, New Zealand. The design work on the beautiful Metkayina people themselves is impressive, physiologically distinct from the Omatikayas in various ways that indicate how they have adapted to ocean life.

“Water has no beginning and no end,” says Tsireya, with a reverence that no doubt reflects Cameron’s own feelings. The director has been a deep-sea geek since he graduated from the Roger Corman special effects shop with his seldom-mentioned feature debut Piranha II. That fascination has continued not only through The Abyss and Titanic but also in his ocean documentaries, giving the new film a full-circle feel as we share his intoxication with an unspoiled environment full of power, splendor and mystery.

Fittingly, the Metkayinas have their own equivalent of the Omatikayas’ Tree of Souls, the underwater Cove of the Ancestors, its bioluminescent vegetation among the film’s visual showstoppers.

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