Looking back on the original, animated “Avatar,” it’s clear that DiMartino and Konietzko had a distinct vision for Aang and this universe. Also, Paul Sun-Hyung Lee’s role as Uncle Iroh tempers the tone of many scenes that bend toward melodrama in the hands of more novice actors. And despite many of the series’ lackluster performances, Elizabeth Yu’s turn as the cunning and volatile Princess Azula - who is desperate to impress her father, the sadistic Fire Lord Ozai (Daniel Dae Kim), and outsmart her exiled older brother Prince Zuko (Dallas Liu) - is by far one of the most powerful showcases of the series. “Avatar’s” opener and its second episode, “Warriors,” remain the two strongest installments of the show, while the penultimate episode (“The North”) injects a vital intenseness and a gorgeous display of water bending needed to reinvigorate the series in its final hours. Moreover, stripping Sokka of the comic relief that enriched the animated version of his character is hugely disappointing and makes for a more one-note depiction.ĭespite these missteps, there are a few standout moments in the series. However, entwining Jet’s (Sebastian Amoruso) story of freedom fighting with the Earth Kingdom’s sparkling city Omashu and the tale of King Bumi (Utkarsh Ambudkar) feel rushed and overly convenient – especially for those who know the original series well. Tonally, “Avatar: The Last Airbender” should stand alongside the nuanced sophistication of the “Harry Potter” movie adaptations or Disney+’s “Percy Jackson and the Olympians.” But instead, cheesy acting and some Disney Channel-like dialogue turn what could have been a resounding epic adventure into a whimpering thud.Īs with many live-action films and television adaptations from written or animated sources, Kim and his writers’ room conflated and combined several pivotal narrative beats. Many of the series’ portrayals lack the extensive emotion needed to carry a show centering on the horrors of genocide, war and totalitarianism. While the show’s visuals and its Asian and Indigenous stars add authenticity to the series, the performances of the majority of the cast, no matter how earnest, don’t hold up to the weight of the narrative. Though initially apprehensive, the pair embrace Aang as their friend and join him on his quest to master the other elements, end the Fire Nation’s war and restore balance to the world. Katara (Kiawentiio), the sole water bender of the Southern Water Tribe, and her over-protective brother Sokka (Ian Ousley) stumble upon Aang’s resting place, inadvertently awakening him. Twenty minutes into the first chapter, “Avatar” flashes forward a century. The Avatar’s absence allows the Fire Nation’s comet-fueled war to rage on, obliterating the Air Nomads and wreaking havoc on the Water Tribes and the Earth Kingdom. It’s a dynamic entry-point for lifelong “Avatar” enthusiasts and newcomers, who can quickly orient themselves in the days before Aang, who learns he is the Avatar (the master of all four elements), is frozen in the ice for 100 years. Using stunning CGI and special effects, the series’ prologue is recounted in majestic color, explaining the history of the war and precocious Airbender Aang’s (Gordon Cormier) life before he goes missing. After living in harmony for millennia, the power-crazed Fire Nation, led by Fire Lord Sozin (Hiro Kanagawa), rises against the world’s other three nations - the Water Tribes, the Earth Kingdom and Air Nomads - in a ploy for domination.
Tasked with adapting the animated series’ first season of 20 episodes into just eight hours, the live-action “Avatar” starts promisingly enough.