Review of Aquaman and the Lost Kingdom: Jason Momoa’s depressing follow-up offers a lackluster wave of submerged fun
Aquaman and the Lost Kingdom is like a fish out of water—predictable, wet, and desperately clinging to relevancy in a world when superhero movies are all too frequent. The $205 million extravaganza, which is helmed by James Wan, is expected to be the last film in the DCEU before James Gunn and Peter Safran give it a much-needed makeover. This undersea misadventure serves as a warning that even Atlantis is susceptible to the effects of creative exhaustion, as the DCEU prepares for a relaunch.
Jason Momoa returns to the role of Arthur Curry, the aquatic Adonis, who must combat an ancient force that threatens to destroy Atlantis. Despite having a larger budget and more stakes than its predecessor, the 2018 movie’s sequel finds it difficult to stand out in the sea of superhero mediocrity. Even if Momoa has a magnetism that rivals that of a tidal wave, his enormous biceps aren’t enough to save this sinking ship. Though they do their best to salvage the damage, returning cast members Nicole Kidman (Atlanna), Yahya Abdul-Mateen II (Black Manta), and Amber Heard (Mera) are equivalent to rearranging deck chairs on the Titanic. Even with Randall Park (Dr. Shin) replacing his humorous hat for a more serious one and Dolph Lundgren reprising his role as King Nereus, the movie nevertheless seems like a soggy sequel clinging to its former glories.
The story advances with little grace, much like a clumsy breaststroke. Arthur battles Black Manta, his archenemy, who carries the powerful Black Trident and a vengeance that is older than the power he craves. In a surprise as unexpected as Aquaman’s ability to speak with fish, Arthur forges an alliance with his half-brother Orm, portrayed sincerely by Patrick Wilson, to liven things up. The film makes an awkward effort to explore themes of atonement, treachery, and brotherhood.
The mystical creatures and aquatic extravaganzas in the film are evocative of an amazing acid trip. Known for his mastery of horror and fantasy, James Wan creates a spectacle, but sometimes it seems like a cheap effort to detract from the uninteresting storyline. Wan seems to have borrowed from Michael Bay’s style, substituting CGI tidal waves for subtlety and depth for explosions. With the delicacy of a torpedo, Aquaman and the Lost Kingdom navigates through its story points, leaving a trail of predictability in its wake. The movie seems to have taken inspiration from the superhero narrative handbook’s clearing section since it extensively relies on well-known clichés. Scenes that are essential to the character arc and story advancement go a well-traveled route, depriving us of the thrill that comes with the unexpected.
Despite being the final DCEU movie before the much-awaited reboot and Amber Heard’s controversial lawsuit against her ex-husband Johnny Depp, many fans of the franchise may argue that the movie was doomed from the start, but despite this, it ended up being the greatest live-action superhero movie of 2023. That’s not saying much, however, given that the three DC films that were supposed to come out this year—The Flash, Shazam! Fury of the Gods, and Blue Beetle—all utterly failed. This chapter of spandex heroes is about to come to an end, which many, including myself, believe is a much-needed shift. However, the movie serves as a reminder that even undersea kingdoms cannot avoid the sinking sensation of creative bankruptcy.
