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    Watch out for those German youth

    Blow your vuvuzela! The U.S. is done, but the World Cup isn't dead

    David Theis
    Jun 28, 2010 | 6:18 am

    If, before the World Cup started, you’d told me that on June 27th the U.S. would be in the same position as England, France, and Italy, I would’ve given a mighty blast on my vuvuzela.

    Oh well. At least we aren’t suffering the same torments of national self-loathing as our partners in elimination. We did just about as well as you could have reasonably expected before the games began. It’s true, however, that we had started to dream bigger dreams. The semifinals were in reach. All we had to do was beat Ghana and Uruguay. Not exactly a piece of tres leches, but doable.

    Except, of course, that Ghana was the same team that showed us the door in 2006, and on Saturday it did so in a manner that was strikingly similar. In the 22nd minute of the 2006 game, Ghana defender Haminu Draman descended on a timidly dribbling Claudio Reyna like a lion falling upon a lesser animal, took the ball away in a majestic display of power, leaving Reyna crumbled on the ground, and flicked in the first goal. The U.S. came back to equalize, but it was clear that our guys couldn’t match the Ghanaians’ power.

    This weekend was déjà vu all over again. The game had scarcely started when Kevin-Prince Boateng yanked (no pun intended) the ball from former Dynamo Ricardo Clark and scored a power goal of his own. (Clark had an unhappy tournament, as he allowed seventh-minute goals in two different games.) And the Black Stars winning goal in overtime came when Asamoah Gyan, looking like a bull running through the streets of Pamplona, fended off the suddenly very puny looking Carlos Bocanegra and smashed one past keeper Tim Howard — who frankly didn’t live up to his pre-tournament hype.

    Having watched Ghana tiptoe their way through a losing effort against Germany, I was taken aback by their display of power and aggression against the U.S. I’d like to see how they celebrated over at the Ghana House.

    Speaking of Germany, the young Teutons were the revelations of the weekend. After a lifetime of watching World War II movies in which all Germans look like they’re going to grow up to be Erich von Stroheim, it was hard for me to grasp that the young men flying with the greatest of ease through the dazed looking Brits were in fact Deutsches.

    Of the European nations who have previously won a World Cup, only Germany seems to be producing exciting young talent. I wonder what the difference is between their approach and that of Italy, France and England?

    Like U.S.-Ghana, Mexico-Argentina was a replay of 2006. The script didn’t change much for that pair either. The previous game was something of a classic, decided in overtime by one of the best goals I’ve ever seen (by Maxi Rodriguez). This year’s game got off to a fiery start. The Orange Bar crowd was roaring and slamming tequilas as the teams traded long breakaways and displays of dribbling and one-touch passing.

    But, unlike Argentina, Mexico was not able to maneuver the ball in front of the goal, and generally had to settle for long-distance kicks — some of which came very close to going in.

    El Tri lost its composure after the refs allowed a goal made by the clearly offside Carlos Tevez to stand, and they never really regained it. This game was a study in the fine line between being a good team and a great one.

    Mexico displayed the elements for international success, which I believe will one day come for them, but they still can’t put it all together. Maybe they need a coach like Diego Maradona, who for me is the single best story of the tournament, and the main reason I’m now pulling for Argentina.

    Friday’s semifinal between Germany and Argentina (another rematch from 2006) has the makings of a free-flowing classic.

    Ghana, in the meantime, will try to muscle Uruguay, who slogged through the rain to defeat a very game and capable South Korea in Saturday’s early game. That was the least interesting match of the weekend, though it did feature a star performance by the young striker Luis Suárez. His second goal, a curling shot that he bent out of the mud and right into the inner half of the far goalpost, was the most purely beautiful play of the tournament so far.

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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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