Entertainment

Now Playing: Avatar: Fire and Ash

Imperfect finale leaves room for more

Published

December 30, 2025

Manila Connoisseur

Photos: 20th Century Studios

If this truly marks James Cameron’s farewell to the franchise, then Avatar: Fire and Ash does deliver a gripping finale that caps the saga’s first arc.

Moviegoers are assured of a visual masterpiece that is even better in 3D, to say the least. Story wise, the film ties up loose ends from Way of Water and culminates in a ginormous battle Pandora’s fate. That’s all while leaving the door open for future chapters.

Execution could have been more polished, but the box office blockbuster franchise’s third entry still remains worth the trip.

As a standalone movie, viewers will find it enjoyable without much knowledge of the first two installments.

Decisions, consequences

Avatar: Fire and Ash is set just weeks after the events of Way of Water. And just like the second installment, the conflict begins with a seemingly harmless decision.

Amid their grief, Jake, Neytiri, and the Sullys decide Miles “Spider” Socorro — son of Col. Miles Quaritch — can no longer stay with them.

This leads to them accompanying him aboard a passing flying merchant ship. Along their trip supposedly back to the human scientist camp, the film introduces the Mangkwan.

This isolated Na’vi tribe who reject Eywa is spearheaded by their tsahik, Varang. From the initial look, they seek domination over Pandora. They also happen to reject Eywa, as bared later on, with Varang showcasing control of fire.

Chaos erupts as the Mangkwan attacks the flying merchants, leaving almost everyone dead. The encounter also causes the Sullys to be separated.

While the tribe ravages the hapless merchants, Col. Quaritch and his team remain hellbent on exacting revenge on Jake, as was his central goal from the past film.

In his pursuit of Jake, a three-way conflict pushes the movie to be tense from the get-go. All parties have their goals they need to accomplish. And a radical new threat stands in the way too.

Enemy of the enemy

Quaritch and his right-hand, Cpl. Lyle Wainfleet, only find Jake tied up in the aftermath of the Mangkwan’s attack.

Persuaded by Jake who knows where to find Jake, Quaritch decides to spare his nemesis temporarily.

They set out on a search for the Mangkwan, while the film highlights the tribe’s radical, if not extremist nature. There’s unsettling rituals and Varang’s thirst for power.

This starts to deepen the narrative as now, it’s a matter of ironically joining forces with your foe. And in spite of the vengefulness inside Quaritch, his side as a father to Spider lets him postpone his payback plans.

Jake and Quaritch team up momentarily to save the former’s children. But Quaritch also realizes the potential in forming an unlikely alliance with Varang, which he does.

A incomprehensible power within

After the first hour or so, Avatar: Fire and Ash gradually builds up on Kiri’s mysterious abilities. She was key to the children escaping from the Mangkwan when she commanded the fauna to kill some fighters.

This was also highlighted more when she bonded with the ground to help Spider survive and turn him sort of into half-Na’vi, being able to breath without an oxygen mask.

But her powers are incomprehensible even to herself. She even tries to commune with Eywa, but to no avail. It was clear at this point that the movie intended to set her up as an integral warrior to what was brewing.

Expanding conflict

Back in the RDA lab, corporate greed takes over anew as scientists find out hundreds of Tulkun whales will be gathering for their mating season.

This would bring them billions in profit if they could harvest large volumes of the amrita substance, threatening Pandora’s ecosystem in the process.

The subplot adds to an already complex web of conflicts. Although, Quaritch’s vendetta against Jake still remains the enduring, central thread, sustaining tension throughout the runtime.

Each chapter just provided constant cliffhangers, somehow keeping viewers glued in spite being three hours long. About two hours in, Quaritch and Varang’s alliance (and relationship) and Jake’s surrender evoked trouble across Pandora.

Humanity amidst the struggle

Adding to that long runtime was exploring the Sullys’ human side. Standing out was Neytiri’s extended grief over the loss of Neteyam.

Her anger toward Spider and general hatred for humans from the first film created an ethical dilemma when she wanted Quaritch’s son dead. Ultimately, the couple decided not to kill Spider, showing how humanity prevailed amidst the struggle.

Neytiri’s sorrow was an aspect the filmmakers arguably could have utilized better. Early on, her grieving lingered over and over. It didn’t help that she was injured from the initial Mangkwan attack too.

While it was already heartbreaking to see Neytiri in such a state, it could have been shown better how she channels this into anger and showing the sky people what they’ve done.

Make no mistake, her clever disguise as a Mangkwan member that helped free Jake and Spider was a great touch.

Yes, the was emotional balance from Zoe Saldana’s character to complement action sequences, but a different direction could have pushed it further.

Climactic finish

Eventually and expectedly, Avatar: Fire and Ash finale sprawls into a dramatic battle that involves all parties. Jake assumes the mantle of Toruk Makto once more, and rallies all known Na’vi tribes, knowing what’s at stake.

This was setup aptly given all conflicts were unveiled at different parts of the movie. I’ll give them the cohesion. But still, it should have been presented with more chaos.

For a film that was titled “Fire and Ash”, you would have expected ruins and lots and lots of burning. Perhaps even some volcanic explosions to set up the end of Pandora.

Anyway, the Tulkuns and Na’vi take care of business initially against the profit-blinded RDA ambush. But combined forces of the now heavily-armed Mangkwan and Quaritch turn the odds to the antagonists’ favor.

Casualties were aplenty; the sudden deaths of key allies felt apt with how straightforward they cut through viewers’ chests. Instantly dead if that’s how their fates should be sealed.

By now, most loose ends have been addressed. Kiri has likewise finally connected with Eywa, whom she asks for help.

Similar to Way of Water, family members were once again held hostage inside an RDA ship. Thankfully, Neytiri overpowers Varang, who decides to flee.

Everything boiled down to Quaritch and Jake confronting each other amid the chaos. Spider aids Jake, but his conflicting loyalty culminates in him saving his biological father.

Repetitive?

Visually, the entire final sequence dazzles, with the sheer volume of moving parts making up for an epic scene at part with those in other trilogies. But the length might have caused fatigue too.

At the same time, if you are going with such an exhaustive screen time, might as well incorporate newer elements related to the Mangkwan.

Or Neytiri and Varang could have had their own distinct one-on-one combat to add to what’s going on.

Even better, Neytiri should have led from the get-go for a refreshed take while the Jake-Quaritch conflict remained a lasting subplot.

There were missed opportunities especially in a final battle that once again took place ocean-bound.

Room for more?

In what was the film’s final cliffhanger for more potential installments, Quaritch decides to jump off the floating rock shortly after getting cornered by the Sullys.

It appeared Jake still wanted to say something, or perhaps convince him to redeem himself before it’s too late.

Instead, we can only assume Quaritch has fallen to his death… not unless the suddenly disappeared Varang saved him on a Banshee. Such ambiguity leaves space for possibly more.

The epilogue was poignant; the underwater spirit trees were a nice touch with cameos from past characters welcoming Spider for his full transition to a Na’vi. The same could be said for Neytiri and Ronal warming up to each other after being reluctant towards each other.

Overall, Avatar: Fire and Ash is a visual spectacle that weaves several dilemmas throughout. It’s not that it wasn’t coherent nor cohesive, but missed opportunities held it back.

Though it’s a worthy, if imperfect, finale to Cameron’s first saga.

Entertainment

Max vs 100 will feature Max Verstappen race against 100 go-karters

The live event will stream at midnight on September 17.

Published

September 15, 2026

Luigi Leonardo

As a child, one of my favorite thought experiments is to imagine who would win in a fight between my favorite characters at the time and a number of other random beings. For example, will Superman prevail against 100 Magnetos? Those are the ways I kept my young mind occupied. Now, as a former child, I still do the same thing but with more realistic people, like imagining if Steph Curry can win against 100 high schoolers. This week, ESPN and Disney+ are making one of those imaginary fights real: Formula 1 legend Max Verstappen versus 100 go-karters.

In an upcoming live event streaming exclusively on Disney+, Max vs 100 will pit the four-time world champion against 100 go-karters from everywhere in pop culture. This gaggle of 100 will include popular content creators such as Twitch streamer ExtraEmily, car photographer Larry Chen, and NBA shooting coach Chris Matthews.

All 101 drivers will race around one of the most iconic tracks in Formula 1 history, Silverstone in England. The track will be reconfigured to match the special race.

Of course, this is more than just a parade of go-karts. Max Verstappen will start at the back of the grid, meaning he has to overtake all 100 racers to win. Now, the Dutch driver is no stranger to winning from the back. In 2024, he won the Sao Paulo Grand Prix despite starting from P17 (out of 20 racers). Max vs 100, though familiar for the driver, presents a different challenge. Can he overtake 100 times to win the race?

Max vs 100 will stream live through Disney+ on September 17, 12:00am PHT.

Entertainment

PH to celebrate 1st ever National Cinema Day; movies start at less than $2

Watch a movie on September 12 for a fraction of the cost

Published

September 10, 2026

GadgetMatch

The Philippines will be celebrating its first ever National Cinema Day on September 12. On this day, movie tickets will go for as low as PhP 100 (US$ 1.60) at regular 2D cinemas.

The campaign aims to make moviegoing more accessible to audiences. This includes families, friends, students, and cinephiles in general.

Such initiative has been a staple in other countries, like the United States, United Kingdom, Spain, Germany, Australia, New Zealand, and more. The same concept applies, with movie tickets going on sale for a lot less.

What’s great about the celebration is that all movies scheduled for exhibition on September 12, whether local or international, shall get the special admission price.

Advanced tickets sales have already begun. Customers can purchase through participating box offices, official websites, mobile apps, and authorized platforms.

Tickets will be sold on a first-come, first-served basis and remain subject to theater capacity. Prices vary for other viewing formats like Director’s Club or IMAX, for instance.

The campaign is organized by the Cinema Exhibitors Association of the Philippines (CEAP), along with industry and government partners.

The initiative is supported by the Film Academy of the Philippines (FAP), Film Development Council of the Philippines (FDCP), Movie and Television Review and Classification Board (MTRCB), and the Metro Manila Film Festival through the MMDA.

Participating cinemas include Ayala Malls Cinemas, SM Cinemas, Robinsons Movieworld, CityMall Cinema, Megaworld Cinemas, and more.

Entertainment

Now Playing: The Dog Stars

The supposed post-apocalyptic thriller fails to deliver

Published

August 29, 2026

Manila Connoisseur

All photos c/o 20th Century Studios

It’s easy to mistake The Dog Stars for a canine-centric survival tale if you aren’t familiar with the source material.

Peter Heller’s 2012 novel uses the title as a double meaning — referencing both the star Sirius within the Canis Major constellation (hence, “the Dog Star”) and the very real bond between a man and his dog.

In Ridley Scott’s cinematic adaptation, the premise delivers a grounded, post-pandemic world devastated by a global flu. The narrative is driven by a mysterious radio transmission intercepted by Jacob Elordi’s Hig, a quiet pilot pushed by grief and an irrepressible human curiosity to see what’s left of the world beyond his refuge.

With a stacked cast, a legendary director, and rich thematic material, general moviegoers and book fans alike have plenty of reason to expect a post-apocalyptic thriller.

Sadly, as an adaptation, The Dog Stars underwhelms. What promises to be an edge-of-your-seat survival ride settles into a surprisingly dull story that lacks the punch of a post-apocalyptic thriller.

It isn’t a bad film, but it struggles to balance its atmospheric build-up with a rushed, squandered third act.

⚠️ Warning: Some spoilers ahead! ⚠️

Ridley Scott’s signature touch

For what it’s worth, Scott doesn’t take long to make his visual presence felt. The director fills the screen with sweeping tracking shots of Hig’s Cessna plane gliding over vast mountain ranges.

This is juxtaposed with melancholic, muted sequences of his daily survival routine with Josh Brolin’s Bangley.

There is a sense of desolation; unaddressed grief for Hig’s late wife and the sheer fatigue of scavenging alongside his loyal Belgian Malinois, Jasper.

The quiet routine switches gears dramatically during action sequences. Scott brings dynamic flair to the screen. Notably, when Bangley holds off a horde of Reapers, the cinematography turns into a video game-esque, FPS-style night-vision POV shot.

Ditto with the high-stakes chase at Margaret Qualley’s Cima’s place, and during the final act in the trap that is Grand Junction.

Brolin and Pearce anchor the wasteland

What’s problematic here is that the lead supports, Josh Brolin and Guy Pearce, give the film its most grounded and reliable energy.

Fresh off playing a father searching for answers in Weapons, Brolin again slips effortless into his role of Bangley.

This badass survivalist with ex-Marine credentials complement Hig with a contrasting manner, making defending their abandoned airstrip look routine.

The initial friction between Hig and Bangley also drives the film’s early momentum. Bangley is perfectly content just chilling at the airstrip, while Hig is consumed by a curiosity to see what’s left on the other side of the horizon given the tools he has.

Bangley eventually concedes to Hig’s urge to chase the radio signal, but gets an earned “I told you so” moment near the end. This is fittingly a chef’s kiss to his character’s consistent demeanor.

Yet you don’t mistake Bangley’s isolation for passivity as well. He is practically itching for a reason to unleash a barnyard full of weapons (pun not intended) he’s been hoarding. It’s as if treating the invading Reapers like the ultimate survival battle he’s eagerly been waiting for in the post-pandemic world.

Complementing this heavy-duty presence is Guy Pearce’s Pops. His fiercely overprotective father persona to Cima steals the spotlight given how everyone is cherishing what’s (or who’s) left.

There are sharp one-liners aimed at keeping Hig at arm’s length, as he’s understandably paranoid after surviving the apocalypse.

Together, these are two highly enjoyable flavors of post-apocalyptic fatherhood. Eventually, Bangley warms up as the entire protagonist group relocates to integrate with the Mennonites in the end.

Pacing turbulence, squandered climax

The film’s momentum begins to stall in the second half. Once Hig crash-lands and meets Cima nad Pops, the narrative slows down considerably.

Sure, it’s a way to establish the emotional foundation and romantic spark between the couple for audiences unfamiliar with Heller’s novel. Perhaps, an attempt to balance the quiet character work with the surrounding chaos.

However, the scales still tip heavily toward sluggish pacing, with the film losing much of the earned tension. This turns what should have been a tense journey into a noticeably dull movie experience.

Quite ironically, this is where Elordi and Qualley’s acting shines the most. It doesn’t help that there is an exposition-heavy writing as you just wait for a climactic finale to unfold, yet it never quite materializes.

By the time the story finally moves to Grand Junction, what should have been a defining act feels like a rushed afterthought.

Given the creative independence, Grand Junction could have been executed like a harrowing, inescapable maze. More frustratingly, the film completely drops the ball on its most disturbing revelation.

When the group stumbles upon roomfuls of discarded passports and piles of dead bodies, it should have been a heart-stopping, horror-thriller pivot. It’s the ultimate “we are completely fucked” moment, exposing the radio signal as a trap rather than a beacon of hope.

Had the film leaned into this nightmare, it would have rolled out the red carpet for Scott to flash his brilliance even further, recalling the tight, claustrophobic dread he mastered in Alien.

Instead, the movie glances past it in a split second. The protagonists overpower the opposition far too easily, robbing the climax of any real danger or lingering tension.

Should you watch it?

Undeniably, The Dog Stars movie succeeds in grounding itself on the human side of post-pandemic survival.

This isn’t a high-octane, “suspend-your-disbelief” blockbuster stuffed with outrageous sci-fi gimmicks; it is a thoroughly logical, realistic look at how real people would handle isolation, grief, and the instinct to rebuild community after everything crumbles.

The film’s core ideas are sound, and its emotional logic is intact. Still, it simply lacks the sharp execution and narrative punch needed to elevate it into a masterpiece.

On our Watch Scale, it falls under Wait on streaming. There’s plenty of technical flair and solid performances from grizzled veterans, but the rushed finale and missed horror-thriller pivot leaves you wishing Scott had been allowed to unleash the full extent of his cinematic powers.