Success as Cinema
Daniel Mendelsohn has a piece about Avatar in the New York Review of Books that you should read, especially if you've seen the movie. He starts by saying that critics have focused on the movie's politics at the expense of the pure experience it offers:
What's striking is that so many critiques of Avatar's political shortcomings often go out of their way to elide or belittle the movie's overwhelming successes as a work of cinema—its enormous visual power, the thrilling imaginative originality, the excitingly effective use of the 3-D technology that seems bound to change permanently the nature of cinematic experience henceforth—as if to acknowledge how dazzling it is would be an admission of critical weakness.And while it's clear he thinks the movie can be boneheaded, he's smart about Cameron's career-long themes and influences:
As it happens, the movie that haunts Avatar—one that Cameron has often acknowledged as his favorite film—is one that takes the form of a fable about the difference (and sometimes traffic) between fantasy and reality; a movie whose dramatic climax centers on the moment when the protagonist understands that visually overwhelming and indeed politically manipulative illusions can be the product of "highly skilled, highly labor-intensive simulations" (a fact that does not, however, detract from the characters', and our, appreciation of the aesthetic and moral uses and benefits of fantasy, of illusion). That movie is, in fact, the one the Marine colonel quotes: The Wizard of Oz. Consideration of it is, to my mind, crucial to an understanding not only of the aesthetic aims and dramatic structure of Avatar but of a great and disturbing failure that has not been discussed as fervently or as often as its overtly political blind spots have been. This failure is, in certain ways, the culmination of a process that began with the first of Cameron's films, all of which can be seen as avatars of his beloved model, whose themes they continually rework: the scary and often violent confrontation between human and alien civilizations, the dreadful allure of the monstrous, the yearning, by us humans, for transcendence—of the places, the cultures, the very bodies that define us.