Aquaman and the Lost Kingdom

Tonight, I went to the theaters to watch “Aquaman and the Lost Kingdom,” which came out two days ago, and I will let you know what I thought of this sequel.

The DC Extended Universe has gone through its ups and downs, but now with the release of this sequel directed by James Wan, this marks the end.

The first film grossed $1.15 billion, making it the fifth highest-grossing film of 2018 and, at the time, was not only the highest-grossing film based on a DC Comic Book character to this day worldwide (including the Nolan “Batman” trilogy) but also the 20^th highest-grossing film of all time. Simon Thompson noted in his review, “Fast forward to December 2023, and “Aquaman and the Lost Kingdom” lands in theaters with comparatively little fanfare outside of what feels like a perfunctory promotional campaign, minimal hoopla for a film of its size, a sequel to a hit, and anchored by an embargo that lifted around the same time that first public screenings take place around the world.” What happened?

Everyone knows the DCEU will transition into the new DC Universe (DCU) with James Gunn and Peter Safran at the helm, and this is the final chapter in the franchise, but still. Regardless of the quality of the film, it’s hard not to feel bad for James Wan, main actor Jason Momoa, and the rest of the cast, both returning and new.

What are “they” hiding? Thompson said, “Is it a double bluff, and it’s so good it’ll blow our fins off, and it had to be kept a secret until almost literally the last second?” Now we have the answer.

Thompson said, “This array of set pieces is best described as good but not great and an entertaining, if slightly forgettable, romp with no shortage of spectacle but a few pinches short on substance.” To tell you the truth, it’s hard not to enjoy the film.

After an entertaining recap at the start of the film to let everyone know what happened in the first film and to tell everyone where Momoa’s Arthur Curry is when we’re reunited a few years on, things pick up very fast. Thompson said, “If there’s one thing “Aquaman and the Lost Kingdom” deserves credit for, and there are plenty of things, it’s the fact as stuffed as it is, there’s not a lot of fat on it, and it doesn’t waste time.”

Taking place several years after the first film, the basic story of the film is that Curry, aka Aquaman, is now a father and has to get back in action to protect Atlantis, along with everyone and everything he loves, from David Kane, aka Black Manta, reprised by Yahya Abdul-Mateen II, who has his mind set on getting his hands on the powerful Black Trident. Thompson noted, “If he succeeds and releases the megalomaniacal Kordax from an icy tomb in the Lost Kingdom, the nightmarish Atlantian promises to make him Kane powerful.” However, getting the Trident isn’t enough: Kordax, played by Pilou Asbaek, also needs the blood from Curry’s bloodline to break the spell and be free. To stop the evil from being released, Aquaman needs to team up with his half-brother Orm, reprised by Patrick Wilson, who he needs to first break out of prison without starting a war. The change in their dynamic is one of the film’s highlights, and, sadly, we won’t be getting more of that. There’s also a subplot about polluting the environment, a strong fuel substance called Orichalcum, and a plague threatening Atlantians and others. As everyone has guessed, so much is going on.

Thompson mentioned, “There’s more to it, and many additional characters are introduced along the way, but that’s the bones writer David Leslie Johnson-McGoldrick has to put meat on— and put meat on them he does. Johnson-McGoldrick previously collaborated with Wan on the first “Aquaman” and also “The Conjuring 2” and “The Conjuring: The Devil Made Me Do It,” and here the two worlds collide as the pair lean into horror and monsters. It never gets too dark or intense, but it is executed in a way that adds an edge for older, accustomed viewers while offering a nice genre gateway for some younger fans who want to explore darker themes. Coupled with Rupert Gregson-Williams’s pacey, vibrant, and engaging score, it’s PG-13 a romp that licks along from set piece to set piece, which is basically what “Aquaman and the Lost Kingdom” is. The good thing is that it’s not trying to be anything different, and the focus is on thrills rather than taking itself too seriously, even when it dips its toes into the pool of deep and meaningful.”

Where does the film go downhill? Even though the film has a lot of ideas, that’s also one of the flaws because it moves from one idea to the next without taking a break of tone. Thompson said, “They are all decent enough ideas, but while the narrative works, it doesn’t feel like it flows so much as things are assembled in an order, and it feels somewhat bitty and formulaic. They create a chain, but it lacks cohesion. There’s a difference. Also, while the set pieces are impressive to look at for the most part, they are often placed in such huge spaces that the epic scale isn’t used as effectively as it could be, and it feels a bit lost.” However, when the focus is on one of the ideas rather than the bigger one and focuses on the action, it is most impactful and works. That’s when the intended surprise happens. Thompson said, “Bigger isn’t always better, and what is meant to showcase epic scale feels more like a sound stage with space people weren’t sure how to use.”

On top of that, some of the effects hurt the film. There are moments of CG that move the audience out of the moment, which is sad. If you see this in 3D, it feels like they meant for that to happen. The final problem would be that some of the returning cast either aren’t given enough to do or feel underserved or too functional, which hurts cast members like Temuera Morrison, Nicole Kidman, Amber Heard, and Dolph Lundgren. However, we have Martin Short’s Kingfish, introduced like the characters in the “Star Wars” Cantina, and John Rhys-Davies’ Bring King, who don’t have major roles but are the highlight of their scenes.

It's sad that “Aquaman and the Lost Kingdom” is the final film in the DCEU because more of this would have been nice. However, the DCEU ends on a high note and in style, despite lacking substance sometimes, which is satisfying. James Wan delivered. Don’t let the fanfare leaving get to you because his good work should not go unrewarded.

I had no idea that critics slammed this film, but when I saw it, I liked it. I thought it was funny, the underwater scenes looked the best (better than the second “Avatar”), the action scenes were great, the actors did a good job, and the characters were amazing. Check this out in theaters because I think it was worth seeing in theaters. You will love this, but judge it based on your own judgment.

Thank you for joining in on this review tonight. Stay tuned tomorrow for the next review in “Disney Month 2023.”