'Avatar The Way Of Water' to end up with $2.6 billion at the global box office: Report

'Avatar: The Way of Water', James Cameron's sequel to his own 2009 science fiction epic 'Avatar', recently crossed the $1.7 billion mark at the global box office. The film has been a hit since the very beginning, and it appears that it will continue to collect money until the next month. The month of January is usually devoid of big theatrical releases. A new report states that the film may end up with more than $2.5 billion in box office receipts by the time it exits cinemas. A report in Screenrant said that the film will bring the studio (20th Century Fox/Disney) $2.6 billion.

Currently, 'Avatar: The Way Of Water' stands at the seventh position in the list of top 10 highest-grossing movies of all time, behind 'Spider-Man: No Way Home' with its $1.9 billion. The original 'Avatar' had grossed (including re-releases) $2.92 billion and remains the biggest movie ever at the worldwide box office. 'Avatar: The Way Of Water' was made on an estimate budget of $350–460 million, and thus had to earn big, but it has surprises even the most optimistic analysts.

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'Avatar: The Way of Water' brings back Jake Sully (Sam Worthington) a paraplegic marine who sided with the Na’vi in the conflict against humans in the original and became one of the tall, lithe, and blue-hued natives himself. He and his native wife Neytiri (Zoe Saldana) have children now: three of theirs and two adopted. The stakes are higher than ever before.

As the old foes at the RDA return to complete what they started in the first film with a renewed sense of vengeance, Jake and Neytiri flee their homeland with their children to protect the Omaticaya clan.

Wion's review of the film read, "Basically, I have the same complaints with ‘The Way of Water’ that I had with the original ‘Avatar’. No one in their right mind would take exception to his vision, but beneath all that eye candy, the film has a painfully conventional story involving conventional characters told in a traditional Cameron way. The director has never been an impressive deviser of complex, gripping plots and characters beyond the surface level. He does have the uncanny ability to build exciting narratives around action set pieces, and 'The Way of Water' is no exception. 'The Way of Water' is, in effect, a typical Cameron movie with all its glories and downfalls.'