Avatar Aang: The Last Airbender has finally arrived on Paramount+, and it’s proof that the show’s magic can still mostly be recaptured in this visually and thematically profound sequel.
Avatar: The Last Airbender is one of the greatest TV shows of all time. With compelling characters, beautiful animation, and refreshingly mature themes born from a wide range of cosmopolitan influences, its depth and entertainment factor continues to resonate with kids and adults alike. For years, the newly founded Avatar Studios has been trying to get fresh projects off the ground. Their first film – Avatar Aang: The Last Airbender – is finally here, and it’s proof that the show’s magic can still mostly be recaptured in this visually and thematically profound sequel.
Set in a world where people can manipulate (bend) the elements, and one individual, a reincarnating peacekeeper called the Avatar, can bend all four, the show told the story of the latest Avatar – 12-year-old Aang – trying to restore peace to a planet ravaged by war. The film takes place roughly 10 years after the show’s epic conclusion. Aang (Eric Nam) and his friends ended the war and have helped rebuild the world – a new settlement, Republic City, physically embodies their efforts. However, Aang still has much to reconcile with emotionally, namely that there’s now a haven for water, earth and firebenders, while he remains the last airbender.
Aang’s people – the air nomads – were wiped out in a genocide at the show’s beginning. Aang only survived because he ran away, and he carries the weight of that guilt with him even now. But remorse turns to hope when he learns of a powerful staff wielded by a previous Avatar from millennia ago – a relic that could potentially bring back airbending. Aang’s newfound optimism is only solidified when, in searching for the staff, he discovers another airbender, Tagah (Dave Bautista), frozen in ice just as he once was.
Trying to condense the show’s vast tapestry of story and theme into a 100-minute film is no easy feat. However, Lauren Montgomery’s direction and the script by Tim Hedrick and Christopher Yost make the smart choice of putting Aang, and subsequently emotional strife, front and centre. Narratively, the tropes and storybeats are familiar to anyone well-read enough. But this is primarily a character study on existentialism; a riveting tale of redemption and longing, culminating in the harrowing but sage sentiment that, to do the right thing, one may have to give up what they want most.
The film’s resonance harkens back to William Faulkner’s belief that the best stories concern “the human heart in conflict with itself”. As the Avatar, Aang’s duty is to the world. But his heart belongs to the air nomads he longs to see again, the opportunity to right his greatest wrong being a physical and mental conflict that forces Aang to face his shame. Giving him a counterpart in Tagah, who takes on the role of both mentor and antagonist, is a terrific choice due to the parallels between them. Both are the sole survivors of genocides, wrestling with an incomprehensible grief. Yet, the differing paths they take in response to their trauma drive the exhilarating final stretch of the film and the moral core of the story on self-forgiveness and solidarity over supremacy, the latter being a prevalent theme of the show too.
Jaw-dropping animation brings these captivating sentiments and the creative action to life. Aesthetically, this is the best any Avatar property has ever looked. The bright use of colour in the set and character designs, as well as the detailed linework that gives a genuine feel of weight and dimension to what’s onscreen, brings the world to life with a dazzling authenticity. In staying true to the show’s hand-drawn, anime-inspired look, the film replicates its predecessor’s visual and emotional appeal with stunning accuracy, the colours and detailed designs inviting us into its own story with palpable enthusiasm. Whether the characters are soaring through the skies on the flying bison Appa, or battling it out, with all four elements explosively informing the Wuxia choreography, the imagery pops off the screen with exciting fervour. It’s criminal that this breath-taking art direction was denied a cinematic release.
Such spellbinding artistry only emboldens the harrowing themes, springy moments of comedy and sensitive treatments of character. A downside to hyperfocusing on Aang is that his companions, who were just as vital to the show’s success, are all but sidelined. Katara (Jessica Matten) gets the most to do as Aang’s greatest moral support, but Sokka (Román Zaragoza), Toph (Dionne Quan) and Zuko (Steven Yeun) are mostly relegated to supporting players. They help Aang on his quest, but their arcs are largely flat compared to the gripping one Aang undergoes. Nevertheless, they still contribute to the nail-biting fight scenes, with some playful moments of banter between each other capturing their idiosyncrasies wonderfully – Sokka’s self-absorbed recap of the show is especially funny.
Broadly speaking, there isn’t much in the way of surprises – particularly if you’re knowledgeable on the show or its spin-off The Legend of Korra. Other elements are also somewhat underwhelming as a consequence of trying to do as much as possible in a limited runtime – chief among them being a villainous group of non-benders called The Denied, who are largely bland. While the voice cast is also very charming and portrays the appealing eccentricities of their characters articulately – Bautista and Nam are wonderful in their scenes together – a selfish side of this critic can’t help but miss the original voice cast.
However, the detail is in the execution, and the affection this film has for the characters and ethics of the show are clear for all to see. It strikes the same tonal balance as its source material, eager to be fun and unfiltered through its character personalities, sense of humour, and fluid use of animation, yet never at the expense of its heavier themes, action, and philosophies. It’s eye-catching and entertaining, but most of all it’s sincere and poignant, attributes captured with tear-jerking results in its climax, as Aang’s arc is wrapped by him making a monumentally brave decision – one that underscores the sageness of values over power.
It’s been a bumpy ride for this film. Months earlier, the whole picture was leaked by a malignant hacker, and before that its scheduled cinema release was demoted to streaming by idiotic executives. It’s difficult not to sympathise with the filmmakers, who have been disrespected by both entitled fans and Paramount, who don’t seem to understand, let alone cherish, this stellar IP. Hopefully the crew can rest easy in the knowledge that they have created a wonderful new entry to this beloved, masterful franchise. Avatar Aang: The Last Airbender is more of a fun addition than a necessary continuation, but its euphoric animation, powerful protagonist’s journey, and compelling choice of themes make it a thrilling, heartfelt spectacle.
Avatar Aang: The Last Airbender is now streaming on Paramount+.
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