In the closing chapters of the DC Expanded Universe film era, there remains a singular hero who injects an innate sense of enjoyment into every frame, coupled with an acknowledgment of the inherent absurdity of his world—Aquaman. Specifically, Jason Momoa’s portrayal of the half-human Prince (and later King) of Atlantis, Arthur Curry, reimagines the character as a robust, long-haired, beer-guzzling, high-fiving, wisecracking individual who shares a striking resemblance to the actor himself.
Momoa reaches the pinnacle of his Momoa-esque persona in “Aquaman and the Lost Kingdom,” a vibrant sequel set in a neon submarine wasteland. Here, our hero confronts the returning antagonist Black Manta (Yahya Abdul-Mateen II), possessed by the spirit of the Black Trident from the seventh kingdom of Atlantis, a necropolis teeming with demonic entities. Black Manta’s perilous plan involves a glowing green ancient power source, exacerbating climate change—a situation tailor-made for Aquaman’s intervention.
The movie’s standout feature is undeniably Momoa. He embodies an alpha-cool, at times brash, “maverick” action star, yet convinces the audience of his character’s inherent decency and self-awareness. Momoa’s dynamic performance seamlessly transitions between smart-alecky commentary and moments of intense emotion, showcasing his versatility. Notably, the introduction of Aquaman’s infant son adds humor and depth, with Momoa’s charisma earning genuine laughs.
A close second in reasons to watch the film is the chemistry between Momoa and co-star Patrick Wilson, reprising his role as Arthur’s half-brother Orm Marius, the Ocean Master. Wilson’s dry portrayal perfectly contrasts Momoa’s exuberance, creating an engaging dynamic that plays out in their argumentative yet mission-oriented interactions.
Director James Wan and screenwriter David Leslie Johnson-McGoldrick, frequent collaborators, prioritize the central narrative between Arthur and Orm, eschewing unnecessary setup. The film delves into their turbulent relationship, with themes of reconciliation, redemption, and personal growth. However, despite its enjoyable nature, “Aquaman and the Lost Kingdom” falls short of the grandiosity of its predecessor, displaying a somewhat cluttered production that hints at potential behind-the-scenes chaos.
The film’s influences are evident, drawing inspiration from a myriad of sources such as “Star Wars,” Jules Verne, H.P. Lovecraft, Peter Jackson’s “Lord of the Rings,” the “Matrix” films, and H.G. Wells. The CGI and practical effects create visually stunning settings, with Wan’s meticulous attention to detail evident in the SpongeBob-esque non-human characters. Action sequences, though not reaching the heights of the original, maintain Wan’s clarity and precision, offering engaging spectacles.
In conclusion, “Aquaman and the Lost Kingdom” is an entertaining, if not exceptional, addition to the DC film universe. While lacking the unrestrained grandeur of its predecessor, it succeeds on the strength of Momoa’s charismatic performance and the engaging dynamic between the central characters. It’s a commendable fantasy adventure that knows its limits, offering a satisfying ride for fans of the genre.
Now playing in theaters.