In Aquaman and the Lost Kingdom, directed by James Wan, and written by David Leslie Johnson-McGoldrick Jason Momoa reprises his role as Arthur Curry, diving back into the deep and turbulent waters of superhero cinema. With an ensemble cast including Amber Heard, Patrick Wilson, Yahya Abdul-Mateen II, Randall Park, Nicole Kidman, and Temuera Morrison, the film navigates through a series of high-stakes conflicts, both personal and global. However, it’s not just the seas that are stormy; the film itself walks a messy path of narrative and visual execution.
Arthur Curry (Momoa) a.k.a Aquaman’s latest adventure kicks off with him recounting a daring hostage rescue to his son, Arthur Jr., followed by a montage of his life post-first film. As king of Atlantis and Queen Mera’s (Heard) husband, he navigates royal duties and family life, discovering his son’s unique ability to communicate with fish. Meanwhile, his nemesis, David Hyde (Mateen II), a.k.a. Manta, obsessively repairs his manta ray suit, seeking vengeance for his father’s death.
Hyde collaborates with Dr. Steven Shin (Park), an Atlantis fanatic, who accidentally uncovers the mysterious Kingdom of Necris, a lost kingdom of Atlantis. Here, Manta acquires the Black Necris Scepter, which transforms him into a monstrous thing bent on locating Oracalcum, a substance capable of destructive climate change. As Manta’s forces storm Atlantis, injuring Mera, Aquaman must enlist his imprisoned brother Orm’s (Wilson) aid to stop Manta’s plans and protect their world.
One of the film’s unexpected highlights is the dynamic between Wilson and Momoa. Their on-screen interactions, filled with playful banter and apparent camaraderie, bring a surprising romantic chemistry, overshadowing Momoa’s scenes with Heard. It’s in these moments, where the two men share the screen, that the film finds its true rhythm and charm. Another highlight, is the film attempts to weave a narrative where unity is the key to salvation, a poignant message undoubtedly close to Momoa’s own environmental advocacy, which is a commendable feat. That’s where the journey through these underwater realms ends.
While the first Aquaman film maintained a balance of seriousness and fantasy, The Lost Kingdom veers into cartoonish territory. This tonal shift was so obvious the audience couldn’t stop laughing especially at the moments the audience is supposed to take seriously. This is only enhanced by the faulty technical aspects of the film, particularly the CGI. The most glaring issue is with Momoa’s Aquaman suit – it seems ill-fitting, and his head appears unnaturally pasted onto the costume. These visual inconsistencies are jarring, especially for a film with a high 3D ticket price.
In contrast to Zack Snyder’s portrayal, Aquaman here seems to have lost a bit of his might. The character is frequently bested in battles, almost as if the film hesitates to showcase his full potential. This underwhelming portrayal left me longing for the more formidable hero seen in earlier renditions.
Aquaman and the Lost Kingdom struggles with inconsistent character portrayal, subpar CGI, and a lack of narrative direction. A crucial aspect of any franchise is its ability to make the audience invested in what’s next. There is none of the care put forth here. This universe is over, why should anyone care? Ultimately, it’s a film that has its moments but ultimately struggles to find its footing in the expansive ocean that is the superhero genre.