Why Avatar Could Win Best Picture

I know, the nominations won't be out for another few weeks, but I think I already see a winner emerging.

Even if it's too early to tell, "Avatar," which has basically rewritten the book on blockbuster filmmaking, will be the Oscar champion this year. Maybe voters will choose it because this year, there are 10 nominees for Best Picture. This is a throwback to the early days of the Oscars, and selecting "Avatar" might be the voters' way of saying they missed the good old days when a studio could make a lavish blockbuster that was actually, well...good.

Even if it does contain a radically new style of filmmaking, "Avatar" has everything a voter would look for in a movie: action, romance, humor, and drama. Mostly though, Academy members seem to favor the film freshest in their minds (with the rare exception of "Crash" in 2005), and "Avatar" is all anyone is talking about. This factor seems likely what propelled "Slumdog Millionaire" to be the little-film-that-could last year.

However, as great as "Avatar" was, does it even deserve the trophy? While "Avatar" was a milestone in special effects, its story and characters lacked in certain places. A film should win Best Picture for its quality, not just its importance.

However, "Avatar" does face some tough competition. As Owen Gleiberman points out, this year's race is mainly between the big budgeted "Avatar" and the smaller, character study of "Up in the Air." Both films are fresh in our minds and excellent for very different reasons. One film chronicles a shift in how films are made, while another represents how a good story on film should be told.

"Avatar" could loose out to "Up in the Air" the same way the film "Avatar" is so often compared to, "Star Wars," did. "Star Wars" lost to "Annie Hall," another classic black comedy heavy on character and light on action.

From the way I see it, Academy voters select winners using three different techniques: their heart, their brain, and hype. If voters decide to vote with their hearts, "Up in the Air" will be the likely winner. If they vote with their brains (highly unlikely), the winner would be either "Inglourious Basterds" or "The Hurt Locker."

This year, they'll go with the hype and select "Avatar." I'm not saying this because of a dislike of "Avatar," nor am I trying to start a backlash. I have remained just as wowed by "Avatar" as everyone else has. With "Avatar," James Cameron captured one of the most vividly amazing worlds ever created by the human imagination. This film will usher in a new era of fine filmmaking. However, without the groundbreaking special effects, the story would not have been strong enough to support "Avatar."

Also, I don't believe the greatness of "Avatar" is all hype. All I'm saying is that "Avatar" represents what voters think a Best Picture film should look like, rather than what a Best Picture film actually should be. That is precisely why you can count "Avatar" as this year's frontrunner.

The Top 10 Movies of 2009

In a recent tweet, Roger Ebert proclaimed 2009 as "one of those magic movie years like 1939 or 1976." Some might say that's a bold statement, but I say it's not too far off. Of all the movie years this decade, 2009 ranks second only to 2007 (the year of "There Will Be Blood," "No Country for Old Men," "Michael Clayton," "Knocked Up," etc.).

Yes, there was much trash this year. From toy commercials like "Transformers 2" and "G.I. Joe" to death porn like "The Final Destination" and the ugliness of "The Ugly Truth," 2009 indeed showed just how low Hollywood was willing to go just to make a buck. But beyond much preposterousness, creativity abounded.

There was something many filmmakers this year, both mainstream and independent, showed that set 2009 apart: bravery. Filmmakers were so willing to be bold that the best films were beyond great. Some of the boldest moves included the changing of history, the willingness to not make simple conclusions, and an inclination to show that the world is unfair and sometimes, the hero just can't win. Oh, and add some CGI blue cat monkey people to the mix.

This year gave us some amazing new talents (Marc Webb, Neil Blomkamp) and some old pros doing what they do best (Quentin Tarantino, The Coen Brothers, James Cameron).

2009 gave us an eclectic mix of Basterds and aliens and corporate a-holes. Here now, are the ten best films of the year 2009:

1. Inglourious Basterds- It's been almost half a year since "Inglourious Basterds" came out, and I still can't think of a better movie that has come out since. "Basterds" is a World War II movie that only Quentin Tarantino could ever pull off: philosophical, extremely violent, and funnier than you could ever imagine. Tarantino shows off a rare ability to make vast stretches of dialogue as exciting as epic battle sequences. Brad Pitt, Eli Roth and Diane Kruger give career best performances while Melanie Laurent proves herself as a worthy leading woman. The real scene stealer, though, is Christoph Waltz, who portrays a Nazi as calm and casual as he is sadistic. In the end, "Basterds" amazes me in its audacity to both change history and turn such serious subject matter into a fun B-movie. This is a medium for Tarantino to show us both his love of movies and the insane universe in which he inhabits. It's a universe that, in a perfect world, would truly exist. Read Review

2. A Serious Man- Some films just grow on you. "A Serious Man" is one of them. "A Serious Man" is both the most mature and the meanest film Joel & Ethan Coen have made to date. It tells the story of the suffering but well intentioned patriarch of a 1960s middle class Jewish family. "A Serious Man" is the most personal film of the Coen Brothers' career and it shows in the perfection of every little detail of the era and culture. Michael Stuhlbarg is perfect in the role of Larry Gopnik, flawlessly portraying the character's flawed nature and vulnerability to an almost hilarious effect. The Coen Brothers have created a film that offers no easy conclusions and will keep you talking and talking about it. It will one day be looked as the quintessential film about the Jewish American experience. Read Review ; Extra Analysis

3. Up in the Air- "Up in the Air" is one of those rare films that strikes the perfect balance between comedy and tragedy. Jason Reitman managed to create a film about a man so far disconnected from other human beings that is both relevant social commentary and a future classic. "Up in the Air" shows the downside of a corporate life, and that even though flying solo can satisfy some people, nothing compares to the feeling of being (and remaining) connected to others. Read Review

4. (500) Days of Summer- Far and away the best romantic comedy to come out in years. "(500) Days of Summer" is a standout in its genre for its willingness to bend the rules and be unpredictable. It's not necessarily a love story, but a story about love between Tom (Joseph Gordon-Levitt) and Summer (Zooey Deschanel). It's told completely out of order because whichever way the story is told, this relationship will inevitably head toward disaster. "(500) Days of Summer" scores on creativity and on having the best use of a Hall & Oates song you'll ever see. Read Review; Extra Analysis

5. The Hurt Locker- To date, most films about the Iraq War have tried and failed. That is, until "The Hurt Locker" came about, a film that connected quite simply because it offered a truthful, apolitical view of a war nobody quite understands. The film has an eerie documentary feel, and Kathryn Bigelow directs each action sequence with the utmost care and precision missing from most mainstream action films today. "The Hurt Locker" is not so much a film about Iraq, or a film about the hell of war, but rather about why men fight. Read Review

6. Precious- As so many before me have said, "Precious" tells the story of the girl you might walk by on the street and completely ignore. "Precious" is at times one of the toughest films to watch for its raw realism. However, sitting through it is almost a revelation for exactly that reason. Lee Daniels has created a film that will open your eyes to a world you knew existed, but like to pretend it didn't. Amazingly, "Precious" also provides a bright ray of hope in such a dark world. Gabourey Sidibe gives a fine breakout performance as the titular lead. However, Mo'Nique truly steals the show as Precious' abusive mother. She gives off the kind of brutal hatred that is at times too painful to watch, but too powerful to ever look away from.

7. Fantastic Mr. Fox- What kind of world do we live in where a movie made for kids, but is even more suitable for adults, fairs so poorly at the box office? Forget ticket sales, "Fantastic Mr. Fox" is a marvel, and proof of Wes Anderson's wide range in directing ability. Anderson opts for old fashion stop-capture animation which quite ironically, makes its animal characters seem even more human. "Fantastic Mr. Fox" shows Anderson as the master of mise-en-scene. While kids won't get the deeply existential questions Mr. Fox poses, make no mistake, this is the perfect movie for every member of the family. Read Review

8. Avatar- James Cameron, the most ambitious director of this generation, created what is quite possibly the most ambitious sci-fi epic to date. What set this film apart is its landmark special effects and use of motion capture technology which turns the Na'vi into creatures with a tangible, human quality. But what amazes me most about "Avatar" is the new world Cameron created for it. Each detail of Pandora is so vividly realized that it might as well be a real place. This is the kind of imagination missing from blockbusters nowadays, and the reason why I hail "Avatar" the "Star Wars" of our time. Read Review

9. District 9- Watch out, because the moderate-sized country at the southernmost tip of Africa has just given birth to a new filmmaking force to be reckoned with. Neil Blomkamp's film is a thrilling and sometimes even funny sci-fi mockumentary about aliens landing in Johannesburg, and then being segregated by frightened humans. It works as both social commentary and awesome sci-fi entertainment. This new classic boldly sets an anti-Apartheid theme in a country scarred by Apartheid and uses its aliens to convey the theme. While "Avatar" is the best sci-fi film of the year, "District 9" is the most original. Read Review

10. The Hangover- I needed one legitimate comedy for my list. After much thinking, I decided I'd go with what was the most hilarious and surprising film of the year. "The Hangover" is a great comedy because nearly every line is funny. The characters are beyond funny, and are enhanced by the believable chemistry between the actors. What makes "The Hangover" worthy of the top 10 is how it manages to be both a gross-out comedy and a mystery at the same time. "The Hangover" at first seems like it's going to be the typical bachelor party in Vegas flick, but in the end, it's a perfectly tuned satire of the idea of Vegas and the reality of it. That and tigers. And babies in sunglasses. Read Review

Other Contenders: Up, Adventureland, Invictus, Bruno, Star Trek, I Love You, Man, Dare, We Live in Public

Worst Movie: The Final Destination (3D)

Still Need to See: In the Loop, An Education, Moon, The Blind Side, Paranormal Activity, Big Fan, A Single Man, Observe and Report

Most Underrated: Adventureland

Most Overrated: 2012

Biggest Disappointments: Public Enemies, Where the Wild Things Are

Movie Review: It's Complicated

After I saw "It's Complicated," I pondered one of the greatest questions of all: what makes a solid comedy? The answer is complicated. Though it does contain a few good gags, "It's Complicated" doesn't totally answer the question.

I hope this opening doesn't sound too harsh, because in the end, "It's Complicated" is a decent comedy, but not a great one.

"It's Complicated" is what can be described as nothing more, and nothing less, than a typical romantic comedy. The film centers around the divorced couple of Jake (Alec Baldwin) and Jane (Meryl Streep). Since the divorce ten years earlier, Jake has remarried the much younger Agness (Lake Bell) while Jane remains single. After reuniting at their son's (Hunter Parrish) college graduation, the two inadvertently rekindle their love and embark on a long, troublesome affair.

It's also worth noting that Steve Martin is in it as Jane's love interest. It's important to note this as the actors are truly what make the story work. The actors that make the story work are the trio of Baldwin, Streep, and Martin.

As usual, it's a pleasure to watch Baldwin's relaxed intensity. His sternness always seems to make for the best humor. He shows this skill most on "30 Rock," and it truly carries over here.

Streep, meanwhile, is great as usual. Here she again proves that she is one of those rare actresses who can conquer any genre. It's amazing to think she can be in something as serious as "The Deer Hunter" and something as silly as "It's Complicated." Streep even shows off the acting skills that a great comedian would have. These skills are visible in her body language and line delivery.

At times, the chemistry between Baldwin and Streep is almost magical. When Jake talks to Jane as she soaks in the tub, the two seem so believable as a married couple. It was a rare scene in the film that could've kept going and I wouldn't have minded.

While Baldwin and Streep rarely seem to go wrong, this is probably the best performance Martin has given in years. He proves to audiences why he was once hailed as one of the greatest comedians out there. All he has to do is roll his eyes a certain way and you're already laughing.

While this trio of actors essentially is the movie, they don't totally steal the show. John Krasinski ("The Office") proves himself to be an amazingly promising comedic talent.

I wish I could talk about how great the actors of "It's Complicated" are for the rest of this post. However, I can't ignore the film's weak points. Its main weakness is its writing. While the film certainly has its funny moments, I can't pinpoint one hilarious line that I could repeat for weeks to come. Also, the film doesn't become funny until some way in and there are many long, humorous stretches. A great comedy should be consistently funny throughout. And while the film is only 118 minutes long, it feels much longer than that.

It also goes without saying that the story of "It's Complicated" is something of a cliche and many parts of the plot line are very predictable. Then again, this is likely what the average viewer was expecting when they came into this movie: an entertaining, predictable romantic comedy. But some comedies can be good by being typical; some can be even better when they try to be smart and original. Take this year's "The Hangover" and "Adventureland" for example.

Overall, "It's Complicated" is funny and entertaining at times, but it relies too much on its acting, and too little on its writing. While great acting helps, the best comedies are bolstered by writers, not actors.

Note: While I normally try to keep my hatred toward the MPAA out of my reviews I thought it was important to mention here. "It's Complicated" is rated R. There is no graphic sexuality, violence, or even explicit language. The only thing that got it an R was a very funny scene involving marijuana. Believe me, an intelligent 13-year-old could handle this.

The Top 10 TV Shows of the 2000s

Sure, this is a film blog, but I can't forget to mention the forgotten art form: television. Unfortunately, this decade was a breeding ground for the worst form of television imaginable: reality television. Throughout the decade, our TV screens were constantly invaded by trash like "Joe Millionaire," "The Littlest Groom," and "Jersey Shore." However, art wasn't gone forever. HBO, Showtime, FX, and AMC showed that the new television was no longer only on basic cable. However, basic cable didn't totally disappoint. What this decade proved was quite simply, that the best shows had the best writing. Here now, are the best TV shows of the decade. Note that only shows that began during the years of 2000-09 are eligible; so unfortunately "Freaks and Geeks," "The Daily Show," "South Park," and "The Sopranos" just missed the cut:

1. Arrested Development- Not just the best of the decade, but perhaps one of the greatest shows ever made. This mockumentary comedy about Michael Bluth (Jason Bateman), a good man simply trying to bring together his dysfunctional family and failing company, scores from a mixture of ingenious writing, brilliant directing, and a pitch-perfect ensemble. One could attribute this show's greatness to its ridiculous ensemble of characters, led by Bateman's straight man. One could also point to its writing, which blends social satire with double entendres. Or one could say it's both factors, as "Arrested" is a rare show where the stars aligned and everything works out perfectly. The fact that this show was cancelled after only three seasons is an atrocity (hey, I guess it was just too smart for America). However, its future influence is worth more than a million "Two and a Half Men"s. What genius could have invented characters who are nevernudes, alcoholics, and cocky magicians, all in one show? Mitch Hurwitz, that's who.

2. 30 Rock- Pure comedic bliss. Tina Fey left "Saturday Night Live" and blessed the world with this brilliant showbiz satire. In "30 Rock," Fey plays the lonely, overworked Liz Lemon, the creator of an NBC sketch comedy show whose world is turned upside down thanks to a pushy new boss (Alec Baldwin). Like "Arrested Development" before it, the show embraces every member of its ensemble (also like "Arrested," it was in serious danger of cancellation). But what really makes the show tick is its writing, headed by Fey which mixes pop culture references with the weird and the avant garde.

3. Mad Men- The 1960s never looked so vividly alive, and gloriously sinful. This AMC drama portrays the advertising industry in the 60s, through the eyes of the well-spoken, philandering ad man Don Draper (Jon Hamm). "Mad Men" wows for nailing every detail of the time period, from the clothes to the wallpaper. Mainly, it's incredible that creator Matthew Weiner could spend so much time on style, yet still tell such amazing stories all while keeping the audience attached to such compelling characters.

4. The Colbert Report- It seems rare that an alumni of "The Daily Show" could go off and become just as successful than Jon Stewart. Stephen Colbert is that rare exception. Colbert created a Conservative alter ego and put it on a talk show four nights a week--and it worked. Colbert's totally deadpan portrayal of a Bill O'Reilly reincarnation is convincing at every turn, from his segments "The Word" to "The Threat Down." Colbert made America aware of the dangers of bears ("Godless killing machines"), and even saved US Olympic Speed Skating. He even brought his show to the White House, and fooled the president, too. Only someone as brave and brilliant as Colbert could pull this off.

5. Lost- There are two stages of TV drama: before "Lost," and after "Lost." "Lost" changed the rules of how time and space work by eliminating both concepts and exploring the infinite abyss of a world in limbo. "Lost" is a modern day "Twilight Zone" for its creative take on the sci-fi genre. However, what truly sets "Lost" apart is its human story. Despite the chaos of its look between fate and freewill through the context of time travel, "Lost" never loses its central theme of being about the little connections that lie between every member of the human race.

6. Planet Earth- Here it is, the best nature documentary ever filmed. "Planet Earth" consists of 11 episodes, each one exploring a different habitat of the earth. What makes this nature show different from every other nature show is that it uses the latest in groundbreaking HD technology. Each image seems so vividly real, that it feels like the action is happening right in your living room. From a shark devouring a seal in slow motion to the rare mating habits of the birds of New Guinea, you'll never see this planet the same way again.

7. The Office (US)- What we have here is the rare remake that's actually original. "The Office" managed to take on a life of its own rather than just imitate its predecessor. It helped make the mockumentary sitcom style popular ("Parks & Recreation" and "Modern Family" would later follow). What truly made "The Office" come into its own were its characters, whom the writers made so real by giving them real emotions; they were capable of doing horrible, unforgivable acts and then earning believable redemption. Not to mention, a tour de force in some of the most uncomfortable humor you'll ever see.

8. It's Always Sunny in Philadelphia- Some have described this show as "'Seinfeld' on crack." That sounds just about right. "Sunny" follows the lives of five losers who run a bar and in their free time, do horrible, misguided acts in attempts to become successful. Some of these deprived acts include faking handicaps, making terrorist videotapes, and operating secret sweatshops. Oh yeah, did I mention this was a comedy?

9. Curb Your Enthusiasm- If you thought the characters of "Seinfeld" were bad, wait until you meet its creator. "Curb" revolutionized the improv comedy by following the life of the selfish, inconsiderate "Seinfeld" creator Larry David. Just to get an idea of who Larry David is, he once told a teenage girl to "shut the f**k up" and another time tried to dig up his mother's body and move her into a Jewish cemetery. There are many, many, more horrible things that Larry David has done. And this is all pretty good. Prettaay, prettaay, pretty good.

10. Summer Heights High- It seems that the leading sitcom style of the 2000s was the mockumentary. This Australian import about the lives of a drama teacher, a troublemaker, and an exchange student, is one of the finest examples. Maybe what is funniest about this show is that creator Chris Lilley plays all three of the main characters, even the girl, and makes them seem ridiculous yet endearing. Also, you might quite simply enjoy its hilarious writing, which turned "Puck you miss!" into a national catchphrase.

Honorable Mentions: How I Met Your Mother, Pushing Daisies, Family Guy (Seasons 1-3), Chappelle's Show, Parks & Recreation, Scrubs, Modern Family

What shows might you include as the best of the decade?

The 2000s: A Decade in Movie Quotes

Sometimes, we remember movies best by small snippets of dialogue. Some of the best quotes are funny, insightful, or just plain catchy. Over the past few weeks, I've been wondering which will be the classic movie quotes of the decade. What lines are as memorable as "I'll be back," "Frankly my dear, I don't give a damn," and "I'll make him an offer he can't refuse?" So, I decided to look back a little and reveal the movie quotes the '00s will be remembered by. The next few lines will be presented commentary-free; the words will speak for themselves. [Note: These are presented in no particular order]:

Are you not entertained?

-Gladiator

With great power, comes great responsibility.

-Spider Man

You and I have unfinished business.

-Kill Bill

Why so serious?

-The Dark Knight

That's the last time you put a knife in me! Y'hear me?

-The Royal Tenenbaums

But it is not this day! This day we fight!

-Lord of the Rings: The Return of the King

What business is it of yours where I come from, friendo?

-No Country for Old Men

I drink your milkshake! I drink it up!

-There Will Be Blood

Okay, well maybe we should tell that to Rain Man, because he practically bankrupt the casino, and he was a ruh-tard.

-The Hangover

Maybe. Maybe not. Maybe f**k yourself.

-The Departed

This guy is either gonna think 'Here's another kid with a fake ID' or 'Here's McLovin, a 25 year-old Hawaiian organ donor'.

-Superbad

What is this? A center for ants? How can we be expected to teach children to learn how to read... if they can't even fit inside the building?

-Zoolander

Ahh Kelly Clarkson!

-The 40-Year-Old Virgin

We're goin' streaking!

-Old School

Get off my lawn.

-Gran Torino

Each and every man under my command owes me one hundred Nazi scalps. And I want my scalps. And all y'all will git me one hundred Nazi scalps, taken from the heads of one hundred dead Nazis.

-Inglourious Basterds

I didn't sign up for this s**t!

-Avatar

What other quotes might you add to this list?

Movie Review: Up in the Air

I won't go as far as to say that "Up in the Air" is the best film of our time. However, should a future alien life form want to learn about our time and culture through film, they should look no further.

"Up in the Air" is the kind of film we need right now; it's one that allows the life of one man to mirror our very own existence.

"Up in the Air" is based on a 2002 novel of the same name. The film version is given a 2009 financial crisis twist. Ryan Bingham (George Clooney) is a corporate downsizer, going from city to city firing people for corporations too afraid to confront their own employees. While some might face a guilty conscious doing this job, Bingham has developed an addiction to his life on the open road. In fact, he's spent 322 days of the past year flying from city to city.

Bingham's air-bound life leaves him isolated from the rest of humanity, but he wouldn't have it any other way. Soon enough, Bingham's livelihood is at stake as his company moves toward computerized communication. Only another frequent flyer (Vera Farmiga) and a new employee (Anna Kendrick) could possibly help him get used to a life on the ground.

"Up in the Air" is a rarity; it's a film that takes a delicate subject and brings both drama and humor into it while keeping neither emotion from becoming overbearing. The film is led with a commanding performance by George Clooney, who shows a whole range of emotion with just one mournful stare. This works well as he portrays a character who must fire people without remorse, and therefore every emotion he might ever have is trapped inside of him.

While Clooney's acting is nothing short of fantastic here (as are the rest of the ensemble's), this is really director Jason Reitman's show. This is Reitman's third feature. After "Thank You for Smoking," "Juno," and now "Up in the Air," Reitman has gone three for three and proves himself as something of a force to be reckoned with. He is probably Hollywood's most versatile young director, as he can pull off a dark social satire in just about any setting. Whether that be the halls of Congress, a suburban high school, or the corporate world, Reitman just seems to know where and when to point a camera.

Like "Thank you for Smoking" and "Juno" before it, "Up in the Air" provides the in-and-out narrator bringing the audience through the painful processes of their lives. However, "Up in the Air" lacks much of the snark of his first two films and is by far his most serious one to date.

In addition, this film shows off Reitman's talent not only as a director, but as a writer as well. No situation feels contrived, and no dialogue goes to waste. Every line feels insightful into either the experience of Bingham, or life as a whole. The ability to be both a great writer and director ultimately shapes you into a great storyteller. Nowhere is that more apparent than in this film, especially in one of the film's final, game-changing twists which you'll just have to see for yourself.

Quite possibly part of the reason why I think "Up in the Air" is so great is because I viewed it as a throwback to the greatest era in American cinema: the 1970s. Like a film out of the 70s, "Up in the Air" sets its story in a socially aware context, without hammering the viewer with politicized themes.

Of everything from the 70s I can think of, "Up in the Air" feels most like a film by Hal Ashby ("The Last Detail," "Harold & Maude"), as it contains many scenes that one could find extraneous, but which do so much to develop character. One instance I can't get out of my head is Bingham taking pictures of a cardboard cutout of his sister and her fiance in front of famous American monuments. This serves as one of the film's funniest running jokes, and Reitman's ability to utilize quirky characters.

"Up in the Air" also immediately made me think of "Taxi Driver," mainly in how similar Ryan Bingham is to Travis Bickle. One might think both characters are forced into isolation by society, but it is instead their very nature to remain isolated. Clooney does the impossible in nearly channeling De Niro's performance, minus the murderous rampages.

What could best make "Up in the Air" perfect 70s cinema is its open-ended ending. While some just want films to give them an answer, the best ones, the ones we never forget, are those that let the viewer do the thinking. This is why we go to the movies: not just to be entertained, but to be challenged. Some movies are an escape from reality, while others mirror it. "Up in the Air" certainly falls into that latter category. Its a cinematic gem; the kind of film that brings you to terms with reality but manages to impress with impeccably good writing, directing, music, camerawork, and acting. "Up in the Air" works so well because its so satisfying in basically everything it sets out to do.

Movie Review: Avatar

James Cameron only makes a movie every 10 or so years. But every time he does, he seems to rewrite the rules of filmmaking. With "Avatar," James Cameron not only rewrote the rules, but opened a whole new book.

"Avatar" is one of those films that's not just a film, but a vision beyond anyone's wildest dreams; it's daring in ways one couldn't even imagine.

Cameron's strange yet fascinating sci-fi epic takes a few steps to break down, it's a premise that mixes contemporary society with ancient faiths. "Avatar" takes place around the year 2154. At this point, the earth has been totally ravished by humans (and, not mentioned in the movie, run out of oil), so the human race heads toward a distant moon called Pandora. Pandora contains a race of creatures called the Na'vi, a tall, blue species with a cat-like face and human tendencies. More important to humans, the moon also contains a valuable, energy-rich rock called Unobtanium. In order to get the Unobtanium, humans infiltrate and then hope to destroy the Na'vi by slipping into their bodies in Na'vi form. These bodies are called Avatars.

War veteran Jake Sully (Sam Worthington), paralyzed from the waist down, takes his brother's place on Pandora after he dies. He is sent to become part of the Na'vi, but in the process, he becomes a powerful member of the tribe, and falls in love with a Na'vi woman (Zoe Saldana).

In some ways, in different hands "Avatar" could have been a disaster, or maybe just an action film like any other action film ever made. But in the hands of a man with a real vision, "Avatar" is something totally different. "Avatar" is shot with a new form of Motion Capture technology that Cameron himself invented. This form looks stunningly real, from the monsters that live on Pandora, to the Na'vi themselves. While some forms of Motion Capture come out as uncannily unrealistic, there is something about the Na'vi that is incredibly human.

The film is shown in 3-D, a usually wasteful tool to add to feature length films. It is something I usually associate with the Muppet ride at Disney World. When used in most films, the only thing it is used for is to shoot raindrops or bullets out at the audience. "Avatar," however, uses its 3-D to make its images more stunning. It seems like more of a way to put the viewer into the film than create some means of shock value. While I hope 3-D doesn't become a regular feature in filmmaking, if it is used for this purpose alone, then I really wouldn't mind.

The storyline of "Avatar" has many elements derived from both contemporary issues and religions. This helps turn the film into a pretty effective parable of human nature in both the past and the present. For example, Avatar comes from the Hindu faith and is the manifestation of a deity from heaven to earth. That makes sense, as Avatars are humans in Na'vi form. Also, the entire film itself seems based off the Hindu belief of reincarnation, as the wheel-chaired Jake wants so desperately to be reborn into something else.

The film also seems to take on the totally unrelated ideology of Shinto, in which it is thought that people have a spiritual connection with the natural world, a connection the Na'vi share with their own planet.

When looking at "Avatar" from a contemporary perspective, one could quite obviously point out that it is a highly critical look at man's depletion of his own home. Some might even try and politicize the film for this reason, though politics should be left out of it.

Looking deeper into the film, one could see that it is about the horrors of imperialism. The war between the humans and the Na'vi often mirrors the destruction of the Native Americans of the United States or the Aztecs in Central America. It is also about the human instinct to act as pillagers: destroying one land, and then moving on to the next.

Moving beyond the themes, the greatest part about "Avatar" is its incredible CGI. Pandora becomes a planet that seems almost tangible. Every aspect of it, from the animals to the plants to the water, is something that could never have been thought of by anyone. In this light, one could almost say "Avatar" is the "Star Wars" of this generation that we've all been waiting for.

Alas, "Avatar" doesn't go without its minor flaws. At times, some of the dialogue is a little clunky. Also, the basic storyline is one that has been done before in one way or another. However, the context it is put into is totally original.

Quite simply "Avatar" is such a great filmgoing experience because its audacious, and its exciting. The end battle sequence is one that could rival the ones from "The Return of the King" and "Lawrence of Arabia."

The very first line of "Avatar" is, "You're not in Kansas anymore!" This shows that in "Avatar," you're being swept out of your comfort zone and being taken to a place beyond the imagination. It could also be nothing less than a shout out to "The Wizard of Oz," a film that led the way to a new dimension of filmmaking with its bold use of color. Cameron is the kind of filmmaker with the vision to accomplish this.

Cameron always manages to defy our expectations. People doubted him before "Titanic" came out and they did the same with "Avatar." Both times he totally changed the game. As Pandora was the beginning of a new frontier for humans, "Avatar" is the beginning of a new frontier for filmmakers worldwide.

Note: Earlier, I accidentally wrote that Pandora was a planet, when it is in fact, a moon. We all make mistakes sometimes, and for this one, I apologize. Thanks to Cameron Bruce for catching this mistake.