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Since its premiere nearly two decades ago, “Avatar: The Last Airbender” has been a fan-favorite animated franchise. Co-created by Michael Dante DiMartino and Bryan Konietzko, the original series garnered critical acclaim and spawned an extended universe. That’s why there was a lot to anticipate when Netflix announced a “reimagined” live-action “Avatar” TV series, led by DiMartino and Konietzko as co-showrunners and executive producers. Unfortunately, that euphoria was short-lived, as the pair abandoned the project over what were described as “creative differences.”
Now, with “Sleepy Hollow” showrunner Albert Kim at the helm as creator, writer and showrunner, Netflix has finally released its long-delayed version of “Avatar: The Last Airbender.” And while the series is far from the disaster that was M. Night Shyamalan’s ill-conceived and whitewashed film adaptation, it will leave fans wishing the streamer had left DiMartino and Konietzko’s masterpiece alone.
Tasked with adapting the animated series’ 20-episode first season in just eight hours, the live-action “Avatar” starts off quite promisingly. After living in harmony for millennia, the power-mad Fire Nation, led by Fire Lord Sozin (Hiro Kanagawa), rises up against the world’s three other nations: the Water Tribes, the Earth Kingdom, and the Earth Kingdom. Air Nomads, in a ploy to dominate. Using stunning CGI and special effects, the series’ prologue is told in majestic color, explaining the story of the war and the life of precocious airbender Aang (Gordon Cormier) before he disappears. It’s a dynamic entry point for longtime “Avatar” enthusiasts and newcomers, who can quickly get their bearings in the days before Aang, who discovers he is the Avatar (the master of the four elements), is frozen. in the ice for 100 years. The Avatar’s absence allows the Fire Nation’s comet-fueled war to continue, destroying the Air Nomads and wreaking havoc on the Water Tribes and the Earth Kingdom.
Twenty minutes after the first chapter, “Avatar” advances a century. Katara (Kiawentiio), the Southern Water Tribe’s only waterbender, and her overprotective brother Sokka (Ian Ousley) stumble upon Aang’s resting place, inadvertently waking him up. Although apprehensive at first, the pair accept Aang as their friend and join him in his quest to master the other elements, end the Fire Nation war, and restore balance to the world.
While the show’s visuals and its Asian and Indigenous stars add authenticity to the series, the performances of most of the cast, no matter how earnest, don’t hold up to the weight of the narrative. Many of the series’ performances lack the emotion necessary to convey a show focused on the horrors of genocide, war, and totalitarianism. Tonally, “Avatar: The Last Airbender” should sit alongside the nuanced sophistication of the film adaptations of “Harry Potter” or Disney+’s “Percy Jackson and the Olympians.” But instead, cheesy acting and some Disney Channel-esque dialogue turn what could have been a resounding epic adventure into a thud.
As with many live-action films and television adaptations of written or animated sources, Kim and his writers’ room fused and combined several key narrative beats. However, interweaving Jet’s (Sebastian Amoruso) story of fighting for freedom with Omashu, the shining city of the Earth Kingdom, and the story of King Bumi (Utkarsh Ambudkar) feels rushed and too convenient, especially for those who know well the original series. Furthermore, stripping Sokka of the comedic relief that enriched the animated version of her character is hugely disappointing and makes for a one-note description.
Despite these flaws, there are some standout moments in the series. The first episode of “Avatar” and its second episode, “Warriors,” remain the show’s two strongest installments, while the penultimate episode (“The North”) injects vital intensity and a magnificent display of necessary waterbending. to revitalize the series in its final hours. And despite many of the series’ mediocre 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 outwit his exiled older brother, Prince Zuko (Dallas). Liu) – is by far one of the most powerful showcases in the series. Additionally, Paul Sun-Hyung Lee’s role as Uncle Iroh softens the tone of many scenes that lean toward melodrama in the hands of newer actors.
Looking back at the original animated “Avatar,” it’s clear that DiMartino and Konietzko had a different vision for Aang and this universe. Without his careful guidance, the live-action series loses the elements that made the animated work unique and refined. Ultimately, “Avatar: The Last Airbender” feels like it’s putting on a show, rather than meticulously immersing the audience in this stunningly crafted world.
“Avatar: The Last Airbender” premieres on February 22 on Netflix.