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Avatar: The Last Airbender First Reviews: It Isn't Perfect, but It's Respectful of the Original and Fun

Netflix's highly-anticipated live-action remake is a quick-paced, action packed series that will entertain viewers, but the sometimes clunky narrative, and subpar special effects may turn away die-hard fans of the original..

TAGGED AS: First Reviews , Netflix , streaming , TV

Avatar: The Last Airbender , Netflix’s new adaptation of Nickelodeon’s groundbreaking animated series, which was created by Michael Dante DiMartino and Bryan Konietzko, is the streamer’s latest attempt at translating a popular anime into live action. It is currently streaming on Netflix.

Starring in the series is an impressive ensemble of mostly Asian and Indigenous actors. Gordon Cormier plays Aang; Kiawentiio is Katara; Ian Ousley plays Sokka; Maria Zhang is Suki; Amber Midthunder is Princess Yue; Danny Pudi is The Mechanist; Paul Sun-Hyung Lee is Iroh; Dallas Liu is Zuko; Ken Leung plays Commander Zhao; Daniel Dae Kim is Fire Lord Ozai; Elizabeth Yu is Azula; Tamlyn Tomita is Yukari; Arden Cho is June; and Utkarsh Ambudkar is King Bumi.

Previously, Netflix has had a rocky go at bringing beloved anime to life as live-action entertainment. Death Note and Cowboy Bebop faltered, while One Piec e proved a rousing success. How will this new adaptation be received?

Here’s what critics are saying about season 1 of Avatar: The Last Airbender :

How does it compare to the anime?

(Photo by ©Netflix)

It’s an earnest and admirable attempt to reignite the original’s magic. — Zaki Hasan, San Francisco Chronicle

Fans can do a little airbending of their own and breathe a huge collective sigh of relief, as Netflix’s live-action adaptation of the beloved animated series is a rollicking fantastical ride that deftly reimagines what made the original show so special. — James Marsh, South China Morning Post

Netflix’s live-action remake isn’t perfect, but if you look past the controversy and open your mind to it, Avatar: The Last Airbender is a fun, addictive return to one of fantasy’s most exciting worlds. — David Opie, Digital Spy

The new show is nowhere near the failure of the film, nor as spectacular as the series — but it’s not of uniform quality, either. — Belen Edwards, Mashable

This new Last Airbender is entertaining enough to work for newcomers to this world, and respectful enough to remind the cartoon’s fans why they loved that world in the first place. — Alan Sepinwall, Rolling Stone

How are the visual effects and action sequences?

Where the live-action series falters a bit is in its special effects, which can fluctuate depending on the episode. Some of the visuals are shaky, and don’t look as crisp as they ought to. Luckily, this is only the case in certain instances, especially at the start, and is never enough to derail the show. — Mae Abdulbaki, Screen Rant

Specifically, water and airbending don’t feel as natural on-screen. In fights between waterbenders, the scenes don’t mesh well together, with the water effects looking unrealistic. By trying to mimic the style seen in the animated show, the seams are showing between the actors and the special effects. Airbending, done primarily by Aang, lacks the magnitude it should have. — Therese Lacson, Collider

It’s solid entertainment: fast-moving, action-packed, with decent fight scenes and some appealing performances, all done on a generous Netflix budget. — Anita Singh, Daily Telegraph (UK)

It’s of special note how well the choreography captures Aang’s unique way of moving: He excitedly bounces around and casually flutters up into the sky on a whim, like you’d expect from someone who grew up with this power. He has a fun and cool combat style where he likes to spin and flip on a breeze to counter his opponent, and use his surroundings to his advantage – sort of like a pint-sized Jackie Chan who can fly. — Joshua Yehl, IGN Movies

Slapstick humor and frightening violence uneasily coexist, and though similar tonal awkwardness plagued the original, the visceral image of a man screaming as he is being burned alive on screen in live-action might not be appropriate for the youngest of viewers. — Karama Horne, TheWrap

How is the writing and directing?

(Photo by Netflix)

Its eight episodes hit the big highlights of the original show, but miss all the small detail that makes those scenes soar. While the new series starts strong, the cracks begin to show once it starts trying to braid together different storylines. — Therese Lacson, Collider

Even with each of its eight episodes clocking in at about an hour each, it would have been difficult for Netflix’s Avatar to hit all of the same beats as the lengthier cartoon. The live-action Avatar film tried to deal with this challenge by distilling its plot down, and in doing so, stripped away a lot of the narrative that helped make the original feel so expertly developed. — Charles Pulliam-Moore, The Verge

Although this live-action show has almost the same runtime as the animated one, the first half of this season can sometimes be briskly paced because storylines from different episodes of the original are smashed together in an attempt to make things work in this new form. — Elijah Gonzalez, Paste Magazine

However, in making the transition to live-action, much of the silliness and whimsy of the original are traded for a tone that’s more grounded, more mature, and more violent – but it’s not done just for edginess’ sake. The slightly darker vibe works in service of the story because it makes Aang’s unwavering compassion and anti-war philosophy shine all the brighter. — Joshua Yehl, IGN Movies

What about the production quality and world-building?

Given the number of different locations Avatar’ s story takes its characters, it makes sense that Netflix would try to keep costs down by digitally constructing more fantastical places. But there is so much unnatural lighting and so many scenes where things in the background move with an uncanny swiftness that the show immediately feels like yet another Netflix-branded live-action cartoon that would have been better served by more practicality. — Charles Pulliam-Moore, The Verge

The camera-work and lighting miss the flair of the animation, with potentially exciting set-pieces made unintelligible purely by how dark they are. Every now and then, it touches on some genuine grandeur through depictions of sheer scale in its physical sets and rendered settings. But there’s more often a disconnect between person and place, which frequently dampens the show’s impact. — Kambole Campbell, Empire Magazine

The adaptation also generally nails the look of this world. The costuming choices seamlessly adapt these characters without brushing over their iconic elements, a considerable feat considering how rarely designs from animated series make this jump gracefully. The sets don’t look cheap or inauthentic either, and these architecture and vistas help firmly place us in this space. The compositing is also generally quite good, and as far as the backdrops are concerned, there isn’t a jarring dissonance between the CGI and practical details. — Elijah Gonzalez, Paste Magazine

The exaggerated hairstyles (created using truly horrendous wigs), color-coded costumes and fantastical animals have an uncanny valley quality to them in live action. They don’t make sense to the eye. — Kelly Lawler, USA Today

Avatar’ s most fundamental issues come down to clunky writing and correspondingly awkward performances. — Angie Han, Hollywood Reporter

How is the cast?

(Photo by Robert Falconer/Netflix)

Comier is everything Aang should be — kind, trusting, and always willing to see the best in others. Kiawentiio as Katara is genuinely lovely, especially as she gains more confidence in her waterbending abilities in the second half of the show. Ousley’s Sokka is good for a laugh, though not everything lands, while showcasing his insecurities. — Mae Abdulbaki, Screen Rant

The major challenge for Ousley as Sokka is translating animation humor into live-action. Exaggerated jokes from the original show can’t be transferred over without adjustments (and sometimes, the Netflix adaptation gets it very wrong), but Ousley plays Sokka’s comedic scenes with a bit of dry humor and sarcasm that take the edge off. — Therese Lacson, Collider

Daniel Dae Kim is, ironically, cold as Fire Lord Ozai, while Ken Leung is fun as the conniving and cowardly Commander Zhao. — Kambole Campbell, Empire Magazine

Dallas Liu plays Zuko with just enough entitlement and rage to mask the pain underneath, while Paul Sun-Hyung Lee is absolutely sublime as the wise, humorous, yet no less scarred Iroh. — Joshua Yehl, IGN Movies

Any final thoughts?

In short, although Netflix’s Avatar: The Last Airbender can’t fully capture the magic of its predecessor and falls into some of the pitfalls alluded to by the previously mentioned promotional soundbites, it still captures enough of the impact and gravitas of what came before to make this retelling land. — Elijah Gonzalez, Paste Magazine

Even when the series feels scattershot, it remains a tremendous flex of an adaptation. — Lyvie Scott, Inverse

The amount of unconvincing special effects, clunky moments of exposition, and its rush to cover so much story in just eight episodes is not insignificant, but even their powers combined don’t outweigh everything this Last Airbender gets right. Above all else, it has its heart in the right place – and for Team Avatar, that’s what matters most. — Joshua Yehl, IGN Movies

Overall, Season 1 of Avatar: The Last Airbender is a firm step in the right direction, with a solid foundation and also room to grow. — Therese Lacson, Collider

I would consider this a hit. My rather low expectations have been exceeded, and I’m genuinely interested to see how they handle the next two books of the original. — Paul Tassi, Forbes

it delivers an Avatar that, grittier though it may be, feels far less mature than the kids’ cartoon ever did. — Angie Han, Hollywood Reporter

This live-action remake feels less like shallow exoticism and fully embraces the diverse East Asian, Inuit, Indigenous, and Southeast Asian heritages that enrich the show’s production and cast. — Karama Horne, TheWrap

The Airbender franchise has confidently revived itself; this won’t be the last we see of it. — Jack Seale, Guardian

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Movie Reviews

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"The Last Airbender" is an agonizing experience in every category I can think of and others still waiting to be invented. The laws of chance suggest that something should have gone right. Not here. It puts a nail in the coffin of low-rent 3D, but it will need a lot more coffins than that.

Let's start with the 3D, which was added as an afterthought to a 2D movie. Not only is it unexploited, unnecessary and hardly noticeable, but it's a disaster even if you like 3D. M. Night Shyamalan's retrofit produces the drabbest, darkest, dingiest movie of any sort I've seen in years. You know something is wrong when the screen is filled with flames that have the vibrancy of faded Polaroids. It's a known fact that 3D causes a measurable decrease in perceived brightness, but "Airbender" looks like it was filmed with a dirty sheet over the lens.

Now for the movie itself. The first fatal decision was to make a live-action film out of material that was born to be anime. The animation of the Nickelodeon TV series drew on the bright colors and "clear line" style of such masters as Miyazaki, and was a pleasure to observe. It's in the very nature of animation to make absurd visual sights more plausible.

Since "Airbender" involves the human manipulation of the forces of air, earth, water and fire, there is hardly an event that can be rendered plausibly in live action. That said, its special effects are atrocious. The first time the waterbender Katara summons a globe of water, which then splashes (offscreen) on her brother Sokka, he doesn't even get wet.  Firebenders' flames don't seem to really burn, and so on.

The story takes place in the future, after Man has devastated the planet and survives in the form of beings with magical powers allowing them to influence earth, water and fire. These warring factions are held in uneasy harmony by the Avatar, but the Avatar has disappeared, and Earth lives in a state of constant turmoil caused by the warlike Firebenders.

Our teenage heroes Katara and Sokka discover a child frozen in the ice. This is Aang ( Noah Ringer ), and they come to suspect he may be the Avatar, or Last Airbender. Perhaps he can bring harmony and quell the violent Firebenders. This plot is incomprehensible, apart from the helpful orientation that we like Katara, Sokka and Aang and are therefore against their enemies.

The dialogue is couched in unspeakable quasi-medieval formalities; the characters are so portentous they seem to have been trained for grade school historical pageants. Their dialogue is functional and action-driven. There is little conviction that any of this might be real even in their minds. All of the benders in the movie appear only in terms of their attributes and functions, and contain no personality.

Potentially interesting details are botched. Consider the great iron ships of the Firebenders. These show potential as Steampunk, but are never caressed for their intricacies. Consider the detail Miyazaki lavished on Howl's Moving Castle. Trying sampling a Nickelodeon clip from the original show to glimpse the look that might have been.

After the miscalculation of making the movie as live action, there remained the challenge of casting it. Shyamalan has failed. His first inexplicable mistake was to change the races of the leading characters; on television Aang was clearly Asian, and so were Katara and Sokka, with perhaps Mongolian and Inuit genes. Here they're all whites. This casting makes no sense because (1) It's a distraction for fans of the hugely popular TV series, and (2) all three actors are pretty bad. I don't say they're untalented, I say they've been poorly served by  Shyamalan and the script. They are bland, stiff, awkward and unconvincing. Little Aang reminds me of Wallace Shawn as a child. This is not a bad thing (he should only grow into Shawn's shoes), but doesn't the role require little Andre, not little Wally?

As the villain, Shyamalan has cast Cliff Curtis as Fire Lord Ozai and Dev Patel (the hero of " Slumdog Millionaire ") as his son Prince Zuko. This is all wrong. In material at this melodramatic level, you need teeth-gnashers, not leading men. Indeed, all of the acting seems inexplicably muted. I've been an admirer of many of Shyamalan's films, but action and liveliness are not his strong points. I fear he takes the theology of the Bending universe seriously.

As "The Last Airbender" bores and alienates its audiences, consider the opportunities missed here. (1) This material should have become an A-list animated film. (2) It was a blunder jumping aboard the 3D bandwagon with phony 3D retro-fitted to a 2D film. (3) If it had to be live action, better special effects artists should have been found. It's not as if films like "2012" and " Knowing " didn't contain "real life" illusions as spectacular as anything called for in "The Last Airbender."

I close with the hope that the title proves prophetic.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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The Last Airbender (2010)

Rated PG for fantasy action violence

103 minutes

Noah Ringer as Aang

Dev Patel as Prince Zuko

Nicola Peltz as Katara

Jackson Rathbone as Sokka

Shaun Toub as Uncle Iroh

Aasif Mandvi as Zhao

Cliff Curtis as Fire Lord Ozai

Written and directed by

• M. Night Shyamalan

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Review: Netflix's 'Avatar: The Last Airbender' is a failure in every way

The year was 2010. Barack Obama was president. The only “Tik Tok” to speak of was the song by Kesha . And a beloved animated Nickelodeon series had come to life as a live-action movie.

I’m talking, of course, about the critically panned 2010 film “The Last Airbender,” directed by M. Night Shyamalan. An adaptation of the beloved 2005-08 series “Avatar: The Last Airbender,” Shyamalan’s film has become infamous for its failures. But there was no way yet another adaptation of that richly mythological series could crash and burn so spectacularly, right?

Look, I wanted Netflix’s “Avatar: The Last Airbender” (now streaming, ★ out of four), a new live-action series, to be good. I watched the original series first as a kid and then again (and again) as an adult, and consider it one of the best TV shows ever made (just ask my ballot in this poll ).

There was so much potential in this story − about a world in which some people have the superpower to control water, fire, earth and air through what is called “bending” − to create something gorgeous and striking in a live-action medium. Not as a shot-for-shot recreation, but as its own epic that embraced the themes and tone of its source material. But out of fear of angering die-hard fans, lack of time and/or budget or a fundamental misunderstanding of what “adaptation” really means, the new “Avatar” is a regretful mess in its first season. Both too slavish to the original and too far removed from it, the new “Avatar” fails in every way. And it’s infuriating. 

In both the new and original series, the world of “Avatar” is divided into four nations: the Earth Kingdom, the Air Nomads, the Water Tribes and the Fire Nation, each with benders who can control their respective elements. Things were fine until the Fire Nation started a centurylong war bent on world domination. Just as this war was starting, the mythical Avatar, the only bender who can control all four elements, disappeared.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

Turns out the 12-year-old Avatar Aang (Gordon Cormier) is the only airbender to survive a Fire Nation-led genocide (hence the title), and wound up frozen in an iceberg for 100 years before he’s woken by teen waterbender Katara (Kiawentiio) and her brother Sokka (Ian Ousley). The trio sets off on a mission for Aang to learn all four elements and help save the world. They are closely hunted by the Fire Nation’s Prince Zuko (Dallas Liu), who has a maniacal desire to capture Aang after his father (Daniel Dae Kim) banished him until he can do so. 

More: 'Avatar: The Last Airbender': Release date, cast, where to watch live-action series

Creator Albert Kim (“Sleepy Hollow”) has clearly tried to maintain fidelity to the animated series. In many ways, it looks like a carbon copy of the cartoon brought to life − some scenes and aesthetics are recreated with excruciating detail. The original pilot (one of the weakest episodes of the cartoon) is basically refilmed. But it was a lot of effort for naught.

The exaggerated hairstyles (created using truly horrendous wigs), color-coded costumes and fantastical animals have an uncanny valley quality to them in live action. They don’t make sense to the eye. After all, entire countries do not all wear the same shade of blue every day in the real world. Even superhero costumes get a tasteful makeover between comic-book pages and a Marvel movie.

So the new “Avatar” looks sort of like a corrupted facsimile of the original, and at the same time the heart of the first “Avatar” is gone. The new series is emotionally hollow, tonally dissonant and yells its themes at the audience like an unhinged political podcast. The story is condensed from 20 half-hour episodic chapters to eight ill-formed episodes. The writing is creaky, clunky and bogged down by entirely unnecessary exposition and Easter eggs for fans that might as well have neon signs above them reading, “Hey, we watched the animated series, we promise!” (A particularly cringe-worthy moment in the pilot episode has one character reciting the voiceover introduction from the cartoon as if it were a normal thing to say in conversation. It is not.) 

One thing the series has going for it is that the actors are of Asian and Indigenous descent, just as they were depicted in the cartoon. The film received sharp criticism for casting white actors in all roles except for the villain. But alas, the child actors, while trying their hardest, can’t rise to the occasion (with the notable exception of Liu). The adult actors appear to have lowered themselves to what they think is the level of the material, reading lines like it’s the first time they’ve encountered language. 

It’s clear after two failed attempts to tell this story in live action that the greatness of “Avatar” was because of its animation, not in spite of it. Photorealism robs stories of their magic (not just this one, just see any Disney remake ). It's almost like animation is more than just a cheaper way to make kids' TV. It's a beautiful art form all its own.

In animation, the whooshing and whipping water that Katara bent was gorgeously, and unrealistically, a deep blue. Aang bent air that was white, far easier to see than our transparent reality. Every bending battle, the highlight of any episode of the original “Avatar,” is sluggish, the actors' moves out of sync with the poor-quality effects.

It didn't have to be this way. Perhaps there wasn't a more successful way to adapt this story, but maybe it need not have been adapted. The original "Avatar" wasn't lacking; there was no need, other than Hollywood's insatiable greed, to remake it.

As it happens, that near-perfect animated original is also available to stream on Netflix. I highly recommend it.

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The Last Airbender

Where to watch.

Watch The Last Airbender with a subscription on Peacock, rent on Fandango at Home, Prime Video, or buy on Fandango at Home, Prime Video.

What to Know

The Last Airbender squanders its popular source material with incomprehensible plotting, horrible acting, and detached joyless direction.

Critics Reviews

Audience reviews, cast & crew.

M. Night Shyamalan

Noah Ringer

Prince Zuko

Nicola Peltz Beckham

Jackson Rathbone

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The Last Airbender : Worst Movie Epic Ever?

• The Last Airbender : Worst Movie Epic Ever?" data-count="horizontal" data-related="TIMEPolitics,techland" class="twitter-share-button">Tweet

Noah Ringer as Aang, center, in a scene from The Last Airbender

Asian Americans, I hear your agitation. For the past few weeks, you and your allies in ethnic correctness have clogged the blogosphere with complaints about the casting in M. Night Shyamalan's live-action movie version of the Nickelodeon animated series Avatar: The Last Airbender . Yes, the main villain roles among the rapacious Fire People are played by men of Indian descent (as is Shyamalan). Yes, Aang, the show's Chinese hero, is played by a Caucasian boy named Noah Ringer; and two other pasty white kids, Nicola Peltz and Jackson Rathbone, were chosen to impersonate Aang's main pals, Katara and Sokka. Actually, the actors who voice the Asian roles in the TV series are Caucasian too — but never mind that, because, yes again, it's a shame the film's producers couldn't find suitable Chinese youngsters among the 500 million or so on earth.

Like its source TV show, dreamed up by Michael Dante DiMartino and Bryan Konietzko, Airbender posits a world divided into four nations by its elements: Earth, Air, Water and Fire. The planet manages a certain harmony because each group has strengths — "bending" capabilities — that counter those of the others. (Is there another planet where the ruling tribes are Rock, Paper and Scissors?) But lately the Fire People have made war on the others, whose only hope is in the prophecy of a savior: an avatar who has mastered all four elements. That would be Aang, a child with a sacred blue arrow tattooed on his bald scalp. One problem, though: ages ago, back in Messiah school, he played hooky during the earth-, wind- and fire-bending classes. He must learn these skills quickly, before Prince Zuko the Fireboy (Dev Patel of Slumdog Millionaire ) and his devious adviser, Commander Zhao (Aasif Mandvi, senior Asian correspondent on The Daily Show ), dare I say, Rule the World. Insert evil laugh here.

Ringer, despite eerily resembling a pint-size version of TIME book critic and fantasy author Lev Grossman, is utterly bereft of charisma. He's the inert center of a dead movie. But then good actors often give subpar performances in Shyamalan films (Sigourney Weaver in The Village , Paul Giamatti in Lady in the Water , Zooey Deschanel in The Happening ), making me suspect the fault is with the director. Maybe he needed stars like Bruce Willis (in The Sixth Sense and Unbreakable ) and Mel Gibson (in Signs ) to link their gravitas to his solemnity.

That was always Shyamalan's distinction: in a terminally frivolous era, he's just about the last serious guy making Hollywood-style movies. "For me," he told TIME's Desa Philadelphia in 2004, "the challenge is taking a B-movie subject like ghosts or aliens or monsters in the woods and treating it with absolute respect and sincerity." In The Sixth Sense and Unbreakable , he wedded that sincerity to a classically austere camera style that helped those early fables of bereavement weave canny spells over the mass audience. But whatever knack he had, he has misplaced, as the level of his movies' achievement has declined from spot-on to near miss to incompetent and clueless.

In his first film adaptation — his most expensive project by far — Shyamalan has hit paper-scissors-rock bottom, and the promise of a sequel at this movie's end feels more like a threat. Please, Hollywood, if there's to be another Airbender movie, hand the job to some efficient hack, and not to a once mesmerizing artist who's lost his way.

First Reviews for Netflix’s Avatar: Last Airbender: Critics Share Mixed Reactions to Live-Action Show

With the February 22 release date of Netflix's Avatar: The Last Airbender right around the corner, reactions and reviews from critics are starting to arrive.

[ Netflix's Avatar: The Last Airbender Cast & Characters In Live-Action Show (Photos) ]

First Critic Reactions to Netflix's Avatar

Netflix recently held the official red carpet premiere for Avatar: The Last Airbender in Los Angeles, and afterward, critics shared their first thoughts and reviews on X (formerly Twitter) about what they've seen so far.

Collider's Mike Thomas proclaimed that it "is fantastic," also noting how the actors "FEEL like Team Avatar:

"The first episode of Netflix's 'Avatar The Last Airbender' is fantastic! From the opening scene, you realize that this is far better than the 2010 film. The fights are great, but the standouts are the actors. These kids FEEL like Team Avatar. A fun new take on a timeless classic."

Joshua Yehl from IGN echoed that same sentiment while also sharing that this take is "more dramatic, mature, and violent than the original:"

"The first episode of Netflix’s 'Avatar The Last Airbender' is pretty incredible. It’s more dramatic, mature, and violent than the original. The best part is what they add to flesh out and enrich the story we already know, like showing the Order 66 of the airbenders. A great start!"

Anthony from The Movie Podcast praised its "faithful visual adaptation" but admitted that it "stumbles in cast performances, narrative, & philosophical depth:"

"'Avatar The Last Airbender' Ep 1 Dazzles with its GRAND SCALE & VIBRANT environments. Fans can rejoice in its faithful visual adaptation and stylistic action sequences. Yet, it slightly stumbles in cast performances, narrative, & philosophical depth. Excited for how S1 ends!"

Critic David Opie shared that "eps 1 + 2 are pretty decent," but "there are definitely issues:"

"'Avatar The Last Airbender' eps 1 + 2 are pretty decent so far and I say that as an obsessive fan. There are definitely issues, but it’s better than the controversies would have you think. If you’re open to it, you’ll have fun, but if you’ve already made up your mind, you’ll hate it."

Rama's Screen claimed the first episode "was spectacular," praising both the cast and visuals:

"Netflix AVATAR: THE LAST AIRBENDER ep.1 was spectacular! This Live-Action version has done the old animated show -- of which I was a fan -- incredible justice. The cast were terrific, the visuals were remarkable and Gordon Cormier (Aang) is a revelation."

@RenGeekness showered praise onto the project, exclaiming how "the cast brings to life the characters & dynamics in all new ways:"

"I can confidently say I fell in love with the world of 'Avatar The Last Airbender' all over again! The cast brings to life the characters & dynamics in all new ways forging its own path in this fantastic story with compelling characterizations, breathtaking world-building & action."

IGN writer Rafael Motamayor wasn't nearly as positive, blatantly saying that the first episode "is a huge letdown" consisting of "too much exposition, poor writing & horrible pacing:"

"I am finally allowed to say that the first episode of 'Avatar The Last Airbender' is a huge letdown. Sure, the bending looks great and generally the visuals are solid, but this is a mixed bag of an adaptation. Too much exposition, poor writing & horrible pacing. Dallas Liu rules, tho."

Film critic Sean Boelman also noted the abundance of exposition while reinforcing how this show is still "much better than the last live-action version of this property:"

"As someone who grew up watching the animated show, I thought episode 1 of 'Avatar The Last Airbender' was a solid start. It's a lot of exposition, but Gordon Komier is great, and the visuals are quite good. *Certainly* much better than the last live-action version of this property."

Journalist Kristen Maldonado stated that while it "isn't perfect," there's "a spark of something special here:"

"'Avatar The Last Airbender' isn’t perfect, but there’s a spark of something special here filled with humor & heart. It’s amazing to see so many Indigenous & Asian faces on our screens. Dallas Liu is a star, Ian Ousley has the best lines & this is my fav Amber Midthunder performance."

The Streamr writer Caiden Reed shared that "[they] definitely can see how some may not like it as much:"

"I really enjoyed the first episode of 'Avatar The Last Airbender'. I'm getting a better understanding of why they made certain changes. I definitely can see how some may not like it as much. Some of the bending's visuals are slightly off. I hope to enjoy the rest of [the show."

@TwoLetterMo was notably rough on the project, explaining that the show feels "in a rush to get somewhere and feels completely isolating for new viewers:"

"I can only give thoughts on Ep 1 of Netflix’s 'Avatar The Last Airbender' but… Yikes! The show is in a rush to get somewhere and feels completely isolating for new viewers, paying lip-service to beats from the animated show with very little care. You'll know if this is for you and this is not for me."

@LuminousDagger echoed a similarly negative stance, claiming that the show is "off to a bad start," and that "mischaracterization is present and VFX looks unfinished:"

"I've watched the first episode of 'Avatar: The Last Airbender', and it's off to a bad start. The life and colour that was once there is now non-existent in this live-action adaptation. Mischaracterization is present and VFX looks unfinished when not focused on the bending."

Could Netflix's Avatar: The Last Airbender Be a Disappointment?

For many fans, seeing negative thoughts on this new adaptation is undoubtedly disappointing, especially since everything up until this point seemed faithful and high quality.

Hopefully, audiences can take solace because no one seems to think it is worse than M. Night Shyamalan's critically panned 2010 film.

A lot is riding on the success of this project for Netflix. With  Stranger Things   coming to a close, the studio is undoubtedly looking for the next big thing—and  Avatar  could easily fit the bill.

Not only are there more seasons built into the story, but there's plenty of potential for spin-offs, such as an adaptation of  The Legend of Korra  or even another original idea set in the same world.

[ Avatar: The Last Airbender Movie: Fire Look at Adult Aang, Zuko & More ]

Avatar: The Last Airbender debuts on Netflix on Thursday, February 22.

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‘avatar: the last airbender’ review: netflix’s live-action remake is a major letdown.

The streamer's take on the beloved animated series centers on a young boy tasked with saving the world by mastering all four elements: earth, air, water and fire.

By Angie Han

Television Critic

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Several times in Netflix’s Avatar: The Last Airbender , Aang (Gordon Cormier), the 12-year-old chosen-one hero, calls for guidance from the spirits of his predecessors. And they oblige, appearing before him in a glowing blue aura to share their experiences or offer advice. But they remind him as well that each Avatar is different — that the role evolves with the needs of the times or the personality of the individual inhabiting it, that it’s on Aang now to figure out for himself what it means for him.

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Of course, by the logic of entertainment franchises, leaving well enough alone was probably never an option. So creator Albert Kim dusts off the premise that devotees of Michael Dante DiMartino and Bryan Konietzko’s cartoon can surely recite by heart: “Water. Earth. Fire. Air. Long ago, the four nations lived together in harmony. Then everything changed when the Fire Nation attacked. Only the Avatar, master of all four elements, could stop them. But when the world needed him most, he vanished.” Where Avatar 1.0 started out as a pleasant half-hour meander, though — having goofball Aang awaken from his century of accidental hibernation to befriend Water Tribe siblings Katara and Sokka, and only gradually building to harder conversations about peace, violence and conflict — this Avatar throws us right into the deep end. The opening minutes are filled with scenes of soldiers, spies, harrowing cruelty.

But Avatar ‘s most fundamental issues come down to clunky writing and correspondingly awkward performances. This is a script that signals Aang’s ambivalence about his destiny by having him simply monologue it: “I know who I am. I like to play airball and eat banana cakes and goof off with my friends. That’s who I am. Not someone who can stop the Fire Nation. Not someone who can stop a war.” As if those words aren’t unnatural enough, they’re directed to a CG sky bison so inert it might as well be a tennis ball. When the lead trio make their way around the world, we’re told rather than shown that Aang is good with people, that he and Sokka and Katara are like family now, that the return of the Avatar has restored some vague sense of “hope” that disappeared when he did. ( Avatar does not seem to have considered the possibility that in the absence of their savior, society might have found other sources of inspiration or purpose to rally around.)

The brightest elements of this universe mostly cluster around the Fire Nation, and not just because their flames are inherently more cinematic than the earthbenders’ floating rocks or the airbenders’ gusts of wind. (Whatever the discipline, few of the fight scenes are anything worth writing home about.) Aang might be the one referenced in the title, but Avatar ‘s ideas and intentions are best exemplified in antagonist Zuko, a teenage prince with daddy issues that would make Kendall Roy wince with sympathy. Radiating rage and pain from every pore, actor Dallas Liu stays faithful to the character originated by Dante Basco while simultaneously embodying Zuko so fully that it seems the role has always been his. With help from more seasoned performers like Paul Sun-Hyung Lee, Ken Leung and Daniel Dae Kim, Zuko’s redemption arc, rushed though it is, emerges as the only truly compelling through line of the show.

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Critics say Netflix's 'Avatar: The Last Airbender' is better than panned 2010 film but doesn't capture the 'heart' of the original series

• Netflix's much-anticipated "Avatar: The Last Airbender" live-action series is out now.
• Critics agree the new series is better than M. Night Shyamalan's disastrous 2010 movie adaptation.
• But the series still doesn't hold up to the original, they said. 

Netflix's " Avatar: The Last Airbender " live-action series has received mixed reviews, but critics seem to agree on one thing — it's better than the widely panned 2010 movie adaptation.

The new series, based on the Nickelodeon animated show of the same name beloved by Millenials and Gen Z audiences, follows a group of children on a mission to save the world from the Fire Nation and its genocidal leader, Firelord Ozai.

A live-action adaptation of the first season by director M. Night Shyamalan and Paramount Pictures in 2010 was panned by critics, mocked by fans, and faced backlash for casting white actors in the Asian and Indigenous-inspired story.

Netflix's adaptation , developed by Albert Kim, was viewed by fans as going in the right direction when it received support from the animated show's creators, Michael Dante DiMartino and Bryan Konietzko, at the start of development and Asian and Indigenous actors were cast in lead roles.

However, fans got worried after DiMartino and Konietzko announced in 2020 that they were stepping away from the reboot due to creative differences.

While critics largely agree Netflix's series hasn't repeated the same mistakes of the 2010 movie, many say the show isn't as good as the original series .

Here's what critics have said about "Avatar: The Last Airbender."

Netflix's 'Avatar' adaptation is better than the 2010 movie, critics say

Rolling Stone's Alin Sepinwell said the Netflix series is more respectful of the original source material and has better action scenes and casting than the 2010 movie .

Mashable's Belen Edwards wrote: "The new show is nowhere near the failure of the film, nor as spectacular as the series — but it's not of uniform quality, either. As if torn between its predecessors, 'Avatar: The Last Airbender;' alternates between high highs and low lows, both of which stem from adaptation choices that range from fresh and exciting to dull and bewildering."

The series translates 'bending' pretty well.

In the series, some humans can control elements, known as bending. Only the main character, Aang the Avatar (Gordon Cormier), can use all four elements — fire, water, air, and earth.

A major failure of the 2010 film were the slow and unimpressive fight scenes . However, critics said that Netflix's series better translates the "bending" power.

Collider's Therese Lacson wrote that firebending and earthbending "are the most visually compelling," whereas the other two don't look natural on-screen.

But it relies too heavily on VFX.

Many critics praised the overall quality of VFX in the series and the attempt to bring Aang's furry flying bison Appa to life. However, many critics said that the series relies too much on VFX, making certain scenes feel unnatural.

Verge's Charles Pullman-Moore wrote that the digital backgrounds make sense for Netflix to cut costs, but the lead actors performed better in practical settings.

"There is so much unnatural lighting and so many scenes where things in the background move with an uncanny swiftness that the show immediately feels like yet another Netflix-branded live-action cartoon that would have been better served by more practicality," he said.

Don't worry about the changes to Sokka. Ian Ousley portrays the hero well.

Fans began criticizing the Netflix series ahead of its release after actor Kiawentiio Tarbell told Entertainment Weekly that the adaptation removed Sokka's sexism.

In the original series, Aang's companion, Sokka, believes women can't fight as well as men as at the start of the series. However, he changes his view after being outclassed by a crew of female fighters, the Kyoshi Warriors. Fans thought that removing Sokka's sexism would ruin the character's development.

However, several critics have praised Ian Ousley's Sokka performance and said the series toned down Sokka's sexism rather than removed it.

Mashable's Edwards wrote that Ousley "nails Sokka's sense of humor."

Verge's Moore wrote: "The new show does a solid job conveying how Sokka's retrograde thoughts about gender are both a moral failing and the sort of weakness that can wind up getting you killed in combat."

Dallas James Liu is the standout actor as Prince Zuko.

The standout actor is Dallas James Liu, who plays the show's antagonist, Zuko. Zuko is the son of the Fire Nation leader, Lord Ozai (Daniel Dae Kim), and hunts the Avatar throughout season one.

RadioTimes's Nicola Austin wrote: "His character arc and transformation is known to be one of the best in an animated series, so it's no mean feat to say Liu brings further depth and a greater empathy to the role."

A consistent criticism of the series is its uneven pacing and tone.

Season one of Netflix's series attempts to mash the original series' 20 episodes into 8 episodes. Critics said this made the show feel rushed, missing key worldbuilding details and storylines that build the connection between the protagonists.

Verge's Moore said the shrunken-down story "stripped away a lot of the narrative that helped make the original feel so expertly developed."

Another major criticism is that Netflix's attempt at a darker tone did not always land. Albert Kim told IGN in January that the tone change was implemented to appeal to "Game of Thrones" fans.

The Hollywood Reporter's Angie Han wrote that the series feels "far less mature than the kids' cartoon ever did" despite its grittier tone.

Critics have questioned whether the adaptation was necessary.

Many critics said that the new Netflix series is just too similar to the original show, so fans cannot help but compare the two.

"Rather than breathe fresh life into a familiar world, this Avatar serves only to remind that some beloved properties might be better left on ice," The Hollywood Reporter's Han wrote.

Daily Beast's Coleman Spilde wrote: "The show is fighting to prove its worth, but is consistently hampered by lofty ambitions that could never match the original show's scope, only surpass the previous live-action iteration."

Overall, it seems that there is much to love in Netflix's "Avatar: The Last Airbender," but some fans may not be satisfied with the series.

Disclosure: Mathias Döpfner, CEO of Business Insider's parent company, Axel Springer, is a Netflix board member.

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The Last Airbender (2010)

• User Reviews
• Noah Ringer as Ang (Aaauunng?) is completely out of his depth. He is frankly a terrible actor and his portrayal has NONE of the charm, humor and innocence of the Airbender. The only thing he does is Tai Chai, which is far from enough to justify his casting. After getting the part Ringer even had to go to acting school, but it looks like he skipped a lot of classes.
• Entire sections of the story are skipped or glossed over using cheesy voice-overs and montages.
• Shyamalan changed the pronunciation of the characters names, to "honor the source material"? Airbender was created by a couple Americans named DiMartino and Konietzko. What source material was he looking at?

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The Perspective

Folks Name 10 Popular Films They Hated

Posted: May 31, 2024 | Last updated: May 31, 2024

Wonder Woman 1984

Wonder Woman 1984 has not been spared by its audience, with many finding it lacking in several areas. Unlike the first Suicide Squad, which some viewers enjoyed as a "fun bad movie," Wonder Woman 1984 fails to capture even this dubious charm. Critics argue that it falls short in almost every aspect, leaving them disappointed and dissatisfied.

The movie's inability to entertain, despite its high expectations and predecessor's success, has been a significant letdown for fans and casual viewers alike. The critique suggests that where Suicide Squad found a way to entertain despite its flaws, Wonder Woman 1984 missed opportunities to engage its audience, making it a tough watch without the redeeming qualities of being enjoyably bad.

The film Mother! certainly didn't win over every viewer, with some expressing intense dislike for it. Even when faced with comments suggesting a deeper appreciation might come from understanding its biblical allegories, the response from those unimpressed remains firm. Recognizing the retelling aspect doesn't change their opinion; they still view the film as lacking in quality.

This strong reaction highlights how, for some, grasping the underlying themes or intended symbolism doesn't necessarily translate to enjoying the movie. It suggests that, despite the filmmakers' efforts to embed layers of meaning, the execution or overall impact of the film can leave viewers dissatisfied, dismissing it regardless of its artistic aspirations.

The Revenant

This person's take on The Revenant is pretty straightforward but definitely stirs the pot: understanding what the characters were saying felt impossible because of the thick accents. It's like, no matter how hard you tried, getting the gist of the conversations was a real struggle. This point digs into how the movie was shooting for realism with its accents and historical setting, but maybe it went a bit overboard.

It ended up making it tough for some viewers to catch what was going on, which can be a bummer when you're trying to get lost in the story. It's a reminder that while going all-in on the authenticity vibe is cool and all, there's got to be a balance so everyone can still follow along with the plot and get the full experience.

Les Misérables

Les Misérables is definitely a beast of a film, and not managing to see it through to the end isn't something you need to apologize for. It's a heavy hitter, loaded with deep drama, unending conflict, and a constant stream of powerful songs that can really take it out of you. While the performances are undeniably strong and the musical numbers are impressive, the film's intensity and length can be overwhelming.

It's an emotional rollercoaster that doesn't let up, aiming to immerse viewers in the tumultuous lives of its characters. This ambition, though admirable, can make the movie a tough watch, especially if you're not in the mood for such a dense, relentless narrative. You're definitely not the only one who's found it challenging to stick with it all the way through.

Eyes Wide Shut

Eyes Wide Shut is one of those movies that keeps people coming back, trying to crack its code, but it remains an enigma for many. Despite multiple viewings over the years, it just doesn't seem to click, leaving viewers puzzled each time. The film's mysterious and surreal vibe makes it a unique piece of cinema, but that same quality can also make it incredibly hard to grasp.

It's like every rewatch brings more questions than answers, adding layers to its weirdness. The intrigue of trying to understand it is compelling, yet the lack of clarity can be frustrating. It stands out as a film that challenges conventional storytelling, which can be both fascinating and bewildering.

The purpose of a story is to entertain or inform. Usually, when it's supposed to entertain, there's some sort of plot. Peaks, valleys, twists, and turns are all elements of a fun adventure that audiences generally want to see in theaters. Psychological dramas mixed with sci-fi and existential dread should be home runs. In the case of Gravity, something was missing.

Things just didn't go anywhere, and we don't just mean literally. Sandra Bullock's entire dilemma was a stretched-out train of thought about what happens when you're confronted with the potential of meeting the inevitable. It was only going to end one of two ways. By the midpoint, we all knew what the ending would be.

A Clockwork Orange

We may be thrown in the river for this one, but A Clockwork Orange doesn't stand the test of time that people think it does. It's a classic book. It's an extraordinary film. That still doesn't mean it's as great as people think it is. Decades since its release, this psychological/crime/sci-fi/drama has strayed further and further from a positive spotlight.

The dated ideas and graphic scenes border on the absurd. For a moment, it also almost resembles a snuff film! Even if it could be redone, how would you expand on the one-dimensional characters and lack of a satisfying story arc?

American Hustle

Since timing is everything in a comedy, you don't want it to drag on and on.** Tell the story. Get the laughs. Maybe even shock the audience.** Then you've done your job. American Hustle forgot about that. Instead, it just runs on and on and on.

Listen, we all love Bradley Cooper. We do. But we love him a little less after over two hours. There's a lot that could have been cut! In fact, eliminating some filler scenes would have made it all that much better! There's no need to stuff every idea into a single movie.

Insterstellar

There are a lot of different types of science fiction movies out there. Many of them offer a fun and visually stunning experience; you just need to lean back and enjoy. Others, like Interstellar, try so hard to incorporate real science and a deeper explanation of things that they get lost in their own brilliance. Visually, Interstellar has everything going for it. A semi-realistic adventure set on alien planets, with the inclusion of a black hole, sounds awesome.

Explaining the reasons behind events and incorporating a substantial amount of mathematics isn't likely to attract a broad audience that appreciates it for what it is. Time loops, black hole theories, and the sheer hopelessness of finding habitable life anywhere in the universe in a realistic time frame are laughable. Additionally, attempting to achieve all of this within a time frame that allows someone to return to a sense of normalcy on Earth is just absurd. Nice try, Interstellar.

Meet the Parents

Listen up Fockers, Meet the Parents isn't all about the unfortunate series of events that make up Ben Stiller's life. Objectively, in the way it's presented. Stiller's character, Gaylord Focker, is a hardworking guy that just want to impress the people around him. He's a life-saving nurse that just so happens to have one vice: smoking cigarettes. See? On paper, he's not bad at all!

According to the movie, that's enough to warrant Robert DeNiro's bullying at every possible opportunity, along with everyone else in his fiancé's family. It's not often that the villains win in a movie. It's even more rare when the audience end up cheering them on.

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Avatar: The Last Airbender [Live-Action] - Review

Things are lookin' appa.

Don’t think of Netflix’s latest animation-to-live-action series as a straight adaptation of Avatar: The Last Airbender , but rather as a dramatic reimagining of the beloved Nickelodeon cartoon. This show works not by rehashing every shot, but thanks to an intimate focus on showcasing its cast of compelling characters. Already powerful emotional moments gain new depth thanks to a willingness to depict what’s only alluded to in the original series. Granted, this interpretation has its fair share of flaws, but it’s a far cry from M. Night Shyamalan’s disastrous 2010 spin on young hero Aang’s mission to master air, fire, water, and earth and defeat the villainous Fire Lord. The amount of unconvincing special effects, clunky moments of exposition, and its rush to cover so much story in just eight episodes is not insignificant, but even their powers combined don’t outweigh everything this Last Airbender gets right. Above all else, it has its heart in the right place – and for Team Avatar, that’s what matters most.

The story centers on Aang, who after accidentally being frozen in time for a century, awakens to find his people have been wiped out and the Fire Nation is waging war on the world. How Aang became the last Airbender, and the way that trauma shapes his future, is always in focus in the new series, no matter how wild and magical the story gets. It’s a captivating premise that puts the weight of the world on Aang’s shoulders, and forces him to challenge the very idea of what being the Avatar means, wisely putting less emphasis on how he's the one person in the world who can control all four elements and focusing squarely on his role as a peacemaker, a savior, and a miracle worker who keeps the world’s four nations existing in harmony. That’s a lot to demand from an adolescent, but Aang leads with kindness and does his best.

Much of the silliness and whimsy of the original are traded for a tone that's more grounded, more mature, and more violent.

It’s one thing to hear about the genocidal Fire Nation wiping a whole society off the map. But to see it dramatized, Order 66-style, not only shows how the world of Avatar: The Last Airbender fell into such a hopeless state but helps us understand exactly what, and who, Aang has lost. It’s all part of a world that is lovingly brought to life, from its grand cities down to its quirky hybrid animals. However, in making the transition to live-action, much of the silliness and whimsy of the original are traded for a tone that’s more grounded, more mature, and more violent – but it’s not done just for edginess’ sake. The slightly darker vibe works in service of the story because it makes Aang’s unwavering compassion and anti-war philosophy shine all the brighter.

Aang, Katara, and Sokka (played respectively by Gordon Cormier, Kiawentiio, and Ian Ousley) make for a solid group of young actors who faithfully capture the spirit of Avatar’s core trio. Cormier looks and acts like the Blue Fairy turned a 2D sketch of Aang into a real boy; it’s impressive for a 12-year-old actor to be the lead of such a major story, and he does it well by evoking the joy and playfulness of his character while also thoughtfully dealing with an immense amount of responsibility no one of any age should have to bear. Sokka is by far the funniest character, which goes a long way to lighten the mood and voicing the thoughts of the audience when weird stuff happens, as it often does in this world where martial artists manipulate fire, water, earth, or air. His sister, Katara, is more hit-and-miss, at times delivering moving words as the beating heart of the team and at others falling a bit flat. Still, watching these three characters form bonds of friendship and learn to work together as a team makes for some of the show’s most enjoyable moments.

Watching these three characters form bonds of friendship makes for some of the most enjoyable moments.

As the Avatar, Aang learns to command the elements with tremendous force, but it’s his kind heart that gives him his strength, and it’s to Cormier’s credit that he makes Aang impossible not to root for. It’s of special note how well the choreography captures Aang’s unique way of moving: He excitedly bounces around and casually flutters up into the sky on a whim, like you’d expect from someone who grew up with this power. He has a fun and cool combat style where he likes to spin and flip on a breeze to counter his opponent, and use his surroundings to his advantage – sort of like a pint-sized Jackie Chan who can fly. It’s worth noting, though, that while all of the environments and settings look stunning, it’s not always convincing when the characters move around in them.

The characters who gain the most from this adaptation’s changes are the Fire Nation’s Prince Zuko and his uncle, General Iroh, who are on a mission to hunt down the Avatar. Dallas Liu plays Zuko with just enough entitlement and rage to mask the pain underneath, while Paul Sun-Hyung Lee is absolutely sublime as the wise, humorous, yet no less scarred Iroh. Their bond as pseudo-father/son outcasts runs deep, and a series of flashbacks show the fiery tragedies that forged it. Anyone familiar with the source material knows Zuko and Iroh have a great storyline ahead of them, so it’s impressive that this retelling manages to add new layers that make it even more nuanced and poignant. 

Spending more time with the Fire Nation characters means we see a surprising amount of the Big Bad Evil Guy, Fire Lord Ozai. It’s a risky decision: Seeing so little of Ozai until the end of the original series is part of what makes the character work so well – kind of like if Jaws could shoot fireballs out of his mouth. But it all works to excellent effect here, and not just because original series veteran Daniel Dae Kim delivers a steely, intimidating performance and at one point takes his shirt off. Ozai is just as ruthless in his war to conquer the world as he is in toughening up his son Zuko and daughter Azula, even if it means playing them against each other to cause an unfathomable amount of pain and daddy issues. Elizabeth Yu crushes it as Azula, with an introduction so cruel and sadistic it’s actually kind of impressive – and she only grows more unhinged from there. All that made me glad her introduction wasn’t saved for the second season.

Elizabeth Yu crushes it as Azula.

It’s clear from the get-go that this show will have bending – lots and lots of bending. For the most part, it looks incredible. Forget how it took six Earthbenders to throw a single, slow-moving rock in Shyamalan’s movie; accented by distinct martial arts styles, Netflix’s Earthbenders raise up pillars from the ground and strike with thunderous impact. Firebending is explosive and dazzling, like watching Liu Kang pop off. Airbending channels tornadoes and gales that blast enemies away. Unfortunately, Waterbending isn’t quite as well done, given the liquid often looks plasticky and feels more like a playful splash than a torrential strike when it hits an opponent. Aside from that wet blanket, the bending is on point, making every fight scene exciting and consistent in packing a wondrous surprise.

Aang’s quest to master all four elements and face Ozai is a long one, spanning three seasons in the original series. But while the first of those seasons told its story over 20 23-minute episodes, the live-action show does it in eight. Significant cuts are made in favor of focusing squarely on Team Avatar’s main quest to reach and defend the Northern Water Tribe from invading Fire Nation forces, and the results are mixed. About half the episodes feel like they’re hustling to get through more plot than they have time for. On one hand, there’s some admirable condensing in the writing, stitching together thematically complementary elements from multiple episodes of the cartoon while also squeezing in some delightful fan service. 

The result is erratic pacing and a general sense of unwieldiness.

But it comes at the expense of breathing room for all those characters and events. The result is erratic pacing, conversations that take sharp turns out of nowhere, and a general sense of unwieldiness. On the flip side, when the show takes its time, we’re treated to some truly amazing stuff. Avatar features a cast of brilliantly crafted characters, each with their own personal mission and philosophy on life, and the show is at its best when it slows down enough to explore them.

There’s plenty to enjoy with this adaptation. The first time we see Zuko’s black metal warship, it’s given the same type of immense scale and daunting musical cue as Star Wars gives a Star Destroyer. Everything from the costuming and makeup to props and weapons are made with excellent attention to detail. And all the little surprises make it fun to watch whether you know the material or not, such as an intense moment between Iroh and a nameless Earthbender soldier that shows what it’s like being on two sides of a pointless war.

But there are also many quibbles to be had, like how we’re often reminded that the Avatar needs to keep a low profile, and yet when the heroes travel to a big city, they immediately take off their disguises and walk around in bright, primary-colored clothing that practically screams their true identities. As a fan of the original show, I couldn’t help but notice that Aang’s ability to commune with past Avatars gets a new wrinkle that changes how the supercharged Avatar State works. This allows for a truly awesome display of power early on that emphasizes what makes this power unique, but the change seems only designed for that singular moment and for the rest of the show the characters have to keep coming up with excuses for why that awesome thing can’t be done whenever trouble arises. Animal pals Appa and Momo are present, and Momo in particular looks adorably lifelike, but they don’t appear enough to feel like they’re actual characters rather than loyal pets – which means, unfortunately, Appa serves as just a fuzzy, flying taxi. 

And, if there’s one aspect of this world that feels undercooked, it’s the spiritual side. A bit of time is devoted to how the Spirit World works and the Avatar’s connection to it, but it’s not enough to prepare us for how important it becomes later on, so there’s a haze of confusion when all the glowy things start happening. 

The Verdict

It goes without saying that Avatar: The Last Airbender is one of the greatest animated series ever made, so a second attempt at a live-action adaptation was never going to come without high expectations and lots of nitpicking at the finer details. But over the course of its eight episodes, those kinds of criticisms – while valid – tend to melt away when the new Avatar hits its stride. The show doesn’t live up to the original in every way possible, but it's still a worthy adaptation that adds a textured richness to the lore. What’s most important is that it captures the spirit of the original while forging its own path; for as different as the two series may be, this one keeps the flawed, complicated, lovable characters at the forefront, showcasing what makes them great and adding new layers of depth along the way. 

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Netflix’s Avatar: The Last Airbender Problems Make These Other ATLA Projects Even More Exciting

Fbi: international's best team leader was already on fbi: most wanted, there is 1 solution to jessica knight’s ncis departure no one is talking about.

• Netflix's live-action Avatar: The Last Airbender needs its main characters' more flawed to be compelling.
• Season 2 must deepen character complexity and growth for a more engaging story.
• The original series succeeded due to flawed characters evolving, which means that character flaws must be emphasized in season 2.

Netflix’s live-action retelling of Avatar: The Last Airbender is far from perfect, and for season 2 to improve upon the flaws of the first, the characters themselves will need to become less likable. Netflix's Avatar: The Last Airbender has made changes to the original series, but remains very faithful to the core story. The original succeeded because of its rich world and complex characters such as Aang, Zuko, and Katara. For season 2 of Netflix's live-action retelling to be as compelling as the original, it needs to delve deeper into the complexity of these characters.

The world of Avatar: The Last Airbender consists of four nations, based on each of the four elements: the Earth Kingdom, the Fire Nation, the Air Nomads, and the Water Tribes.

Season 1 of Netflix's Avatar: The Last Airbender does one thing very well: it artistically recreates the rich world of the original series and sets the stage for the legendary story to unfold. The fictional nations in the world of Avatar: The Last Airbender , are beautifully depicted, so it is easy to understand the background of each key character. However, while the beloved faces in Netflix’s retelling are easily identifiable, the characters are not flawed enough to be exciting to watch . Neither the heroes nor villains change or grow as much as they did in the original series.

The live-action Avatar: The Last Airbender has proved a divisive release for Netflix, but its problems make the other ATLA projects more exciting.

Netflix's Avatar: The Last Airbender Needs More Flawed Characters In Season 2

Great characters have flaws.

For character arcs to be more engaging in season 2 of Netflix’s Avatar: The Last Airbender , they must present growth and change, not just fall flat. One character that will most likely appear in season 2 is Toph. Toph's character is a fan favorite and an exceptional earthbender, yet she has an arrogant side that complicates her relationships with other characters. Complicated is good, as watching characters navigate complex relationships is rewarding to watch . If Toph isn’t arrogant, then there will be less conflict between her and other characters, and less opportunity to reward the audience with moments of change.

Netflix's Avatar: The Last Airbender season 2 will condense the original story just like they did with season 1, shortening potential storylines. Regardless, the show must find the time to introduce as many flawed characters into the mix as possible. If the show wants to engage the audience more effectively, the characters need to be more believable. Just as all people have shortcomings and flaws , the heroes need the same to be relatable. In the original series, such flaws were present, and it was those flaws that breathed life into the main characters.

The Characters' Flaws Are A Major Strength Of The Original Avatar: The Last Airbender

Heroes can't be perfect from the start.

The original Avatar: The Last Airbender is anchored around the premise of change , as many characters evolve throughout the show. Antagonist Zuko and his Uncle Iroh's story is one of the most rewarding in terms of change. However, the original trio at the heart of the story have relatable flaws they all work to overcome. Sokka’s growth in Avatar: The Last Airbender sees him overcome his insecurities and sexist views as he changes how he treats his sister, Aang shakes off childish tendencies once and for all, and Katara manages to let go of her anger at the Fire Nation.

It is rewarding to watch characters grow on their journey, but if they have no flaws to work on, the audience will miss out on the satisfaction of seeing them change.

A major strength of the original series was that not only do the characters change the world they inhabit, but they also change themselves. In the live-action retelling, Netflix has sanitized these characters, lessening their flaws, and the show suffers as a result. Appreciating Aang's maturing as the show progresses is made impossible if he is already presented as more grown-up. It is rewarding to watch characters grow on their journey , but if they have no flaws to work on, the audience will miss out on the satisfaction of seeing them change.

Introducing The Characters' Shortcomings Is A Major Challenge For Season 2

It might be too late to introduce flaws.

Introducing the shortcomings of already-established characters in season 2 will add great value to the show, yet it poses a major challenge. It is potentially too late to reveal flaws in the existing main characters , since Aang suddenly becoming more childish or Sokka more sexist would create a sense of regression instead of progression. One approach may be to increase the pressure on the protagonists so that their shortcomings are more believably drawn out. Tackling this problem will require thoughtful work from the writers to make any emerging flaws believable.

Characters that emerge in season 2 of Netflix’s Avatar: The Last Airbender are the main hope for the show to display character flaws more openly. Toph’s arrogance will add a new dynamic to season 2 and touch upon what made the original series special. Her introduction might be the best path to bringing out flaws in other characters, as her personality can upset the overly harmonious status quo of the three heroes. With every character in season 2, Netflix must make a conscious effort to portray them as less likable, so that the show itself can become even more so.

Avatar: The Last Airbender (Live-Action)

Based on the acclaimed animated Nickelodeon television series, Avatar: The Last Airbender is an action-adventure fantasy series developed by Albert Kim. The series follows Aang, a young man training to harness the four elements to live up to the title of Avatar - the one who will restore balance to the world.

Avatar: The Last Airbender

Avatar: The Last Airbender is an Animated Fantasy and Adventure series that appeared on Nickelodeon and was created by Michael Dante DiMartino and Bryan Konietzko. The series featured voices from Zach Tyler Eisen, Jack DeSena, Dante Basco, and Mae Whitman. The premise follows a young boy named Aang, an Air Bender who is set to be the next Avatar, master of all elements, in a bit to unite the nations together and bring peace.

‘Vanderpump Rules,’ As We Currently Know It, Is Over

• By Krystie Lee Yandoli

Krystie Lee Yandoli

It’s been a difficult season for Vanderpump Rules fans and cast members in light of the Scandoval fallout, often leaving everyone pondering the same question: Where do we go from here? The third part of the show’s largely uneventful reunion aired on Tuesday night, and despite some of the cast exhibiting conflicting perspectives, one through-line is clearer than ever before: Vanderpump Rules, as we currently know it, is over.

All three reunion episodes took on a similar tone as the entire Season 11 — mostly solemn and sometimes confrontational. In this third part of the reunion, all of the cast members watch the last scene of the finale together in which they, like usual, break the fourth wall. Most of the group also criticizes Ariana Madix for walking out of the scene and not filming with her ex, Tom Sandoval .

In a tear-filled and emotional moment, Sandoval apologizes to Madix and says he regrets the affair “every fucking day.” Lala Kent also notably opines that she feels she was treated differently when her ex-fiancé Randall Emmett was caught cheating on her. She also expresses her frustrations about how Madix wouldn’t film with Sandoval, fearing the future of the show would be in jeopardy if she didn’t do what producers wanted. When everyone walks off the stage, their relationships appear well beyond fractured, some of which are seemingly irreparable.

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From its very inception, what always made Vanderpump Rules work was the fact that these cast members were more than just a collection of people randomly selected to film together with highly produced storylines. This ever-evolving group of young people were actual, real-life friends who were deeply entrenched in each other’s lives, from working together to dating each other, calling each other best friends and sisters, and then sometimes hooking up with their best friends’ boyfriends and girlfriends — there just happened to be cameras around to capture their messy, complicated dynamics.

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If  VPR’ s intention is to film a group of disjointed cast members who once fit into each other’s lives but are no longer friends or lovers, they can make another season like the one they just aired on television. But if Bravo wants to put out an authentic series about a complicated group of friends like the show has historically been portrayed, then the highly successful show needs a complete revamp.

That doesn’t mean there isn’t hope for a future iteration of the show. In a world that prioritizes audiences’ and customers’ needs and desires, it’s hard to imagine that VPR is actually going anywhere. People want to watch this chaotic and beloved group on television, especially now. Plus, there’s too much money on the table to leave the Vanderpump Rules brand behind. Yes, The Valley spinoff has been excitingly successful, and Lisa Vanderpump also launched a separate Hulu reality series in April called Vanderpump Villa , but nothing compares to the ratings, ad dollars, and fan loyalty that comes with the OG series that started them all.

Even executive producer Alex Baskin has said that bringing in new, random people doesn’t work for Vanderpump Rules because it’s based on an organic group of messy friends who really are navigating life together on and off camera.

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If this is going to truly be a show that depicts cast members’ real lives then there’s no denying changes need to be made in order to reflect that, and any future seasons of Vanderpump Rules will require significant shake ups and developments in order to reflect reality. 

Perhaps the wise words from Vanderpump in the third part of the reunion sum up the show’s conundrum: “I don’t know how to make it better now,” she says to host Andy Cohen after an emotional, tumultuous back and forth about the state of the show. “Does anybody know how to make it better?”

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