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Avatar is a new movie. By this sentence you have likely read plenty of Avatar reviews out there or, more likely, you’ve been to see the movie yourself. My own feelings about the cinematic quality of the film are mixed, but that’s not the point of this piece.
Because watching Avatar didn’t actually make me excited about watching Avatar, if that makes sense–it made me excited about watching future science fiction and fantasy movies in a way that no other film has to date.
I was lucky to be brought up in the 80s, at the height of the Jim Henson’s workshop, when movies like The Dark Crystal defined my childhood and made me, at such a young age, truly believe in magic. Those were important years, and nothing inspired me so much as fantasy in film. The Last Unicorn, The Hobbit, Time Bandits: the list goes on.
But something happened with the introduction of CGI that, in some ways, have aged films of the last ten years more than those of the 80s and early 90s. It’s like we took a few steps back and had to redraw everything from scratch again. Watching some of the broom-flying scenes in the first Harry Potter and the Sorceror’s Stone, for instance, or even some of the parts of Peter Jackson’s Lord of the Rings already feel dated. It’s strange to think that the puppets and animation of my youth seem to hold up better in some ways. (Not all films held out, of course. There’s the weird case of the Ninja Turtles franchise, which started out surprisingly viable and not that bad in terms of animatronics, and then, by the third film, turned into a complete farce.)
Except now, I think the game has finally changed. WETA has demonstrated that, in the last ten years, CGI has truly gone beyond what seemed so monumental during The Lord of the Rings films in the early 2000s. I kept looking for those glaring errors, kept scanning the screen, the shots, for moments of real weakness (i.e. when Neville went on that errant broom ride in Harry Potter and the Sorceror’s Stone and he looked a little better than a stuffed beanbag being flailed about; or those scenes in LOTR when the hobbits just didn’t look short enough, in spite of the camera tricks). But those that I found in Avatar were exceptionally minimal.
Avatar is not a great film, at least, not in terms of what the movie says or achieves from a thematic standpoint (in other words, it’s been done before… but I digress). However, the presentation, the experience of the film, the detail of the world and the remarkable depth of emotion conveyed in the CGI characters is something altogether new and thrilling for me, fangirl as I am of fantasy. While the 3D was a bit distracting at first, in the end I saw the importance of it. It was another layer of depth, another way to draw the audience into the world.
For years I have dreaded seeing fantasy adaptations for the screen, fearing that the result will never even graze the surface of my imagination. This includes nearly every film with a dragon made in the last two decades. Now, I say, bring it on. Let’s get some Pern on the screen, some worlds teeming with alien life, vast ancient monumental cities. Let’s really push the envelope now that we can do it well.
The aesthetic of Avatar, I think, far eclipsed everything else about it. I believed in the world even if I didn’t think the story was that great. Every bug, mushroom, flying creature, hairless dog, and fern frond was a painstakingly real and believable as my own back yard. And that is the key to good science fiction and fantasy: creating a believable world, a world in which you get blissfully, thoroughly lost, and regret having to come back from.
So, readers. What SF/F worlds do you want to see recreated on the big screen in the coming decade? Do you think that, now that the genre is appealing to a larger audience that we’ll have a chance to see more of our beloved books and TV shows in theaters? Or are there canon article that you are all the same fearing, regardless of the advances in technology?
With the world now aware of his dual life as the armored superhero Iron Man, billionaire inventor Tony Stark (Robert Downey Jr.) faces pressure from the government, the press, and the public to share his technology with the military. Unwilling to let go of his invention, Stark, along with Pepper Potts (Gwyneth Paltrow), and James "Rhodey" Rhodes (Don Cheadle) at his side, must forge new alliances -- and confront powerful enemies.
Six months after the end of the first movie, Tony Stark (Robert Downey, Jr.) has used his Iron Man armor to bring about a negotiated peace treaty between the major super powers of the world, and his immense popularity with the general public is only furthered when he fulfills his father's dream by opening the "Stark Expo", to showcase all the latest inventions that will benefit the world. Stark is, however, still vilified by the United States government, and Senator Stern (Gary Shandling) in particular, who demands that he hand his armor technology over for military application. Stark refuses, publicly shaming rival Justin Hammer (Sam Rockwell) in the process by highlighting his own failed attempts at recreating the technology. All is not well in Stark's life, however: he has discovered that the palladium in the arc reactor keeping his heart beating has begun to poison his body, slowly killing him, and all attempts to find a substitute element have failed. Slowly going off the rails as a consequence of what he believes to be his impending death, he appoints his former personal assistant Pepper Potts (Gwyneth Paltrow) CEO of Stark Industries, replacing her with Natalie Rushman (Scarlett Johansson).
While racing in Monaco, Stark is attacked by Ivan Vanko (Mickey Rourke), who has constructed a miniaturized arc reactor of his own, including whip-like attachments harnessing the electrical energy. Defeating Vanko with the aid of his Mark V armor (a transforming briefcase), Stark discovers that Vanko is the son of disgraced Russian physicist Anton Vanko, who collaborated on the first arc reactor with Stark's father Howard (John Slattery). Vanko is promptly broken out of jail by a revenge-seeking Justin Hammer, who puts him to work fashioning a line of "Iron Drones" that he will use to upstage Stark at his own Expo.
Tony throws what he believes will be his last birthday party and promptly proceeds to get drunk whilst wearing the Iron Man armor, forcing his friend Lt. Colonel James Rhodes (Don Cheadle) to don the Mark II armor and subdue him. Disgraced, Stark is approached by Nick Fury of S.H.I.E.L.D (Samuel L. Jackson), who provides him with a chest of his father's old artifacts that can hopefully be used to find a cure for his palladium poisoning. Reviewing the film reels in the chest, Stark discovers a message from his father that leads him to the original 1974 diorama of the Stark Expo: in reality, a disguised diagram for the atomic structure of a new element. Stark hand-builds a particle accelerator with the aid of his computer J.A.R.V.I.S. (voiced by Paul Bettany) and synthesizes this new element, creating a new triangular chest arc that cures his poisoning.
Simultaneously, at Stark Expo, Hammer unveils his new military drones, captained by Rhodes in a heavily-weaponized version of the confiscated Mark II armor. Unfortunately, it is soon discovered that Vanko has complete control of both the drones and Rhodes's new armor, and Stark arrives just as they go on the attack. As Stark battles against these remote-controlled enemies, Happy Hogan (Jon Favreau) and Natalie (an undercover S.H.I.E.L.D. agent named Natasha Romanoff) race to Hammer's Queens facility to stop Vanko. By the time they arrive, Vanko has already departed for the Expo in a new, more powerful suit of armor, but Natalie is able to give Rhodes control of his armor again so that he and Stark can fight Vanko together. The two armored allies combine their powers and successfully take Vanko down, but his armor and drones are revealed to have been equipped with self-destruct charges. As they begin to go off, Stark races to save Pepper, rescuing her at the last minute.After landing on a roof she quits her CEO position, and she finally gives Tony a kiss, to which they both find Rhodes sitting a few meters away. He then claims he was there first so they should get their own roof after Stark tries to defend himself.
At a debriefing, Fury informs Stark that while Stark is "unsuitable" for the "Avengers Initiative", S.H.I.E.L.D. wants Iron Man as a consultant. Stark agrees on the condition that Senator Stern present him and Col. Rhodes with their medals for bravery.
In a post-credits scene, S.H.I.E.L.D. agent Coulson (Clark Gregg) is seen driving to a remote impact crater in the New Mexico desert. As he informs Fury over the phone that they've "found it", the crater is shown to contain Mjolnir, the hammer of Thor. REVIEW BY IRON MAN LOVERS
Late 12th-century England and Sir Robin Longstide, Earl of Huntington (Russell Crowe) back to his village in northern England after fighting in the Third Crusade. There, the nobles and their followers do to the people of oppression caused by pressure of the new Sheriff of Nottingham (Matthew Macfadyen). Sir Robin liberating their villages from the tyranny and corruption, the restoration of peace and justice in the UK. Robin also won the hearts of Lady Marian (Cate Blanchett) while leading his men in Sherwood Forest Merry
