"'The Abyss' gave us the first 'photorealistic' computer-generated character, while 'Terminator 2' pioneered advanced morphing effects and the far more extensive use of CGI. 'Titanic' seamlessly blended digital assets with large-scale practical sets in order to create what's still the most transportive disaster movie ever made, while 'Avatar' and 2022's ' The Way of Water' took performance-capture technology to such extraordinary new heights - and depths."
"That notion seemed like a distinct possibility when it was first announced that he was going to be directing four "Avatar" sequels, but it didn't prepare me for the reality of watching one of cinema's greatest explorers walk in circles for three hours, even if Cameron - being Cameron - naturally finds a way to make that journey feel novel and invigorating at times."
James Cameron's films have repeatedly driven evolutionary shifts in blockbuster visual effects, from 'The Abyss' to 'Terminator 2,' 'Titanic,' and the 'Avatar' films. The early works introduced photoreal CGI, advanced morphing, and seamless blends of digital and practical effects. 'Avatar' and 'The Way of Water' advanced performance-capture to extraordinary levels. The third 'Avatar' installment, Avatar: Fire and Ash, lacks the unprecedented spectacle and storytelling newness of its predecessors. The film often revisits familiar territory and can feel like a three-hour repetition, though occasional sequences still feel novel and invigorating.
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