Well, folks. It all ends here. We’ve seen four DCEU films in the year that was 2023, and as Aquaman and the Lost Kingdom hits theaters, it becomes clear that the franchise, as we knew it, is no more. With a reset being prepped over the next year, Jason Momoa helms this final film. Does Aquaman and the Lost Kingdom go out with a splash? Or will it fade away with a mere whimper? Read on.
The movie opens as Aquaman (Jason Momoa) struggles with “adulting.” He’s happily coupled with Mera (Amber Heard), and they now have an adorable baby. However, he also is the King of Atlantis. While it is “Good to Be the King,” it’s hard. Especially if you’re Arthur Curry. So, when Black Manta (Yahya Abdul-Mateen II) resurfaces with a renewed quest for vengeance, Aquaman sees few options that don’t involve teaming up with his conflicted brother Orm (Patrick Wilson). Will they be able to save Atlantis?
Nicole Kidman, Randall Park, Temuera Morrison, Dolph Lundgren, Martin Short and John Rhys-Davies co-star in the movie. James Wan directs Aquaman and the Lost Kingdom from a script by David Leslie Johnson-McGoldrick.
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From the outset, Aquaman and the Lost Kingdom finds itself weighed down by a clunky script with no idea what it wants to be. Ultimately, with a lead like Jason Momoa and a character like Aquaman, the film is at its best when it leans into the absurdity inherent in this story. Aquaman rides sea horses for crying out loud. Jason Momoa shines when he can exist as his winking, jovial self. This is true in every movie. He has a very specific charm.
Unfortunately, the script’s struggles result in massive tonal swings throughout the story. As a result, there are many moments when it feels like no one is in the same film. This is at its most pronounced when the story shifts to focus on Black Manta.
Abdul-Mateen II is digging into some bleak, villainous places to bring his villain back to life. However, despite how hard he tries to inject life into these sequences, they fall flat, especially opposite Momoa and Wilson.
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To make matters worse, Abdul-Mateen II (and, to a lesser extent, Wilson) spends large portions of the film stuck delivering clunky exposition dumps. Johnson-McGoldrick’s script attempts to shoehorn new lore, new technology and new locations into this roughly two-hour movie, and the age-old adage of “show, don’t tell” is completely ignored. To be blunt, large sections of this film feel like clumsy videogame cutscenes.
Similarly, in a world that gave us Avatar: The Way of Water, Aquaman struggles when venturing into his underwater home. Surprisingly, a 3D screening does little to dispel any videogame comparisons. It only serves to flatten what in previous films were beautiful ocean backdrops and highlight clunky effects on the humans. Underwater hair will never look right, it seems.
Truthfully, Aquaman and the Lost Kingdom is at its best when Wilson and Momoa find their stride. Ultimately, their narrative as brothers is the strongest emotional bond present in the film. Despite being in the entire movie, Mera is little more than a background character at this point. Wilson and Momoa spend long stretches on their own. Once they find their chemistry, they carry not only the film’s comedy but also its humanity.
Does this feel like the end of an era for the DCEU? We’ve lived with this franchise since 2013, after all. Kids, not in the slightest. There’s no closure. There isn’t even an awareness of life outside Aquaman’s small sphere. Ultimately, The Flash brings more closure to this universe. Watching this decade-spanning series go with this basic, paint-by-numbers sequel is honestly pretty disappointing. Here’s to seeing where James Gunn takes things in 2025.
Aquaman and the Lost Kingdom opens in theaters nationwide on December 22, 2023.
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