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The Last Airbender (2010)

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Follows the adventures of Aang, a young successor to a long line of Avatars, who must master all four elements and stop the Fire Nation from enslaving the Water Tribes and the Earth Kingdom.

Director:

M. Night Shyamalan
Popularity
1,015 ( 239)
8 wins & 11 nominations. See more awards »

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Cast

Cast overview, first billed only:
Noah Ringer ... Aang
Dev Patel ... Prince Zuko
Nicola Peltz ... Katara
Jackson Rathbone ... Sokka
Shaun Toub ... Uncle Iroh
Aasif Mandvi ... Commander Zhao
Cliff Curtis ... Fire Lord Ozai
Seychelle Gabriel ... Princess Yue
Katharine Houghton ... Katara's Grandma
Francis Guinan ... Master Pakku
Damon Gupton ... Monk Gyatso
Summer Bishil ... Azula
Randall Duk Kim ... Old Man in Temple
John D'Alonzo John D'Alonzo ... Zhao's Assistant
Keong Sim ... Earthbending Father
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Storyline

The world is divided into four kingdoms, each represented by the element they harness, and peace has lasted throughout the realms of Water, Air, Earth, and Fire under the supervision of the Avatar, a link to the spirit world and the only being capable of mastering the use of all four elements. When young Avatar Aang disappears, the Fire Nation launches an attack to eradicate all members of the Air Nomads to prevent interference in their future plans for world domination. 100 years pass and current Fire Lord Ozai continues to conquer and imprison anyone with elemental "bending" abilities in the Earth and Water Kingdoms, while siblings Katara and Sokka from a Southern Water Tribe find a mysterious boy trapped beneath the ice outside their village. Upon rescuing him, he reveals himself to be Aang, Avatar and last of the Air Nomads. Swearing to protect the Avatar, Katara and Sokka journey with him to the Northern Water Kingdom in his quest to master "Waterbending" and eventually fulfill ... Written by The Massie Twins

Plot Summary | Plot Synopsis

Taglines:

Four nations, one destiny


Motion Picture Rating (MPAA)

Rated PG for fantasy action violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

1 July 2010 (USA) See more »

Also Known As:

Avatar: The Last Airbender See more »

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Box Office

Budget:

$150,000,000 (estimated)

Opening Weekend USA:

$51,804,232, 4 July 2010

Gross USA:

$131,564,731

Cumulative Worldwide Gross:

$319,731,881
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Although this movie does not take place in Philadelphia, (like all of M. Night Shyamalan's other movies) some of the movie was shot there. See more »

Goofs

When Aang and his friends are arrested in place where is occupied by firebenders, they are put into a prison for earthbenders. However, the entire prison is made out of earth, as Aang points out, to which they should have known this already, defend themselves and escape. See more »

Quotes

[first lines]
Katara: A hundred years ago all was right with our world. Prosperity and peace filled our days. / The four Nations: Water, Earth, Fire, and Air Nomads lived amongst each other in harmony. / Great respect was afforded to all those who could bend their natural element. / The Avatar was the only person born amongst all the nations who could master all four elements. / He was the only one who could communicate with the Spirit World. With the Spirits' guidance the Avatar kept balance in the ...
See more »

Crazy Credits

The closing credits feature Aang, Katara and Zuko bending their respective elements of water, fire and air (no earth bending is demonstrated). See more »

Alternate Versions

Also released in a 3D version. See more »


Soundtracks

La La
Written by Ashlee Simpson and John Shanks
Performed by Ashlee Simpson
Produced by John Shanks
See more »

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User Reviews

Both Misconceived and Misunderstood
30 March 2019 | by ReadingFilmSee all my reviews

How he starts off the film with the twirling, air, fire, earth, shows promise this will be an experimental audio-visual take on its source material. Across the movie, flashes of a vision even arise. Problem is it's all happening inside the auteur's head and he's moving pieces here and there and there's all kinds of amazing things happening in his imagination that the film represents. It comes off much like David Lynch's Dune, which is a compliment in that he doesn't so much as fail he's just out of his element and his interests aren't registering for the rest of us. 'Let us in, please.' It seems it was made with a prayer the cake would come out. Such faith was required for his high-concept genius thrillers, that his complex calculus would read on screen, and the intimacy of those works had always protected him. So in that context of a genuinely different, oft-kilter cinematic thinker--and directors will never be speaking the same language as the audience, just presenting forms for translation--it's fascinating seeing the mystic-director detour into the blockbuster form. I kept remarking the staging and images are so strong as compared to the CGI-fests of today, there is an enticing vividness to a lot of this that might have worked nicely on a more modest enclosed YA tale, like a Harry Potter; in fact with the fire nation casting being stronger than the main trio, there especially was a window into the real film. At other points I felt like a kindergarten teacher saying, 'Oh, wow, good job Night!' in that any of it reading at all was a miracle. Night being who he is, it's inherently a meta reflection of the 'blockbuster' never the real thing, so even flashes of working just feel like this homage.

Basically, Night displays the alien inapproachable of the exceptional that has always shielded him from failure through casting, concept and formula, until audiences really began to pick up on just how different the language he is speaking is, responding with derision, laughter and mockery. Part of this is immigrant-syndrome creates a barrier of communication to the host culture sometimes reading as camp, unintentional comedy or outright weirdness, as Paul Verhoeven's 90s work. How blockbusters need to work is through pragmatism and connection from start to finish, which is why it's done by committee now; when you get a Shyamalan or Snyder it will always be hit or miss since they fail on their own terms and fail big since their mind works through symbol, texture and form. Keep in mind a Spielberg is just as inapproachable and strange, just as isolated by his talent, and certainly as eccentric, but his work reads since his talent just so happens to be in vivid connection and humanity. For Shyamalan it's the occult, the unseen, the mysticism through trauma, the redemption through faith. See how all that could sell his thrillers but not this? Here it only suits the film in the abstract. He's lost. It's why he's so obsessed with that protag twirling the cane, there in a synchronized alignment with the unseen. That, he understands.


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