‘AQUAMAN AND THE LOST KINGDOM’ Review: A Decent Farewell To the DCEU

Courtney Howard // Film Critic

AQUAMAN AND THE LOST KINGDOM

Rated PG-13, 2 hours and 4 minutes

Directed by: James Wan

Starring: Jason Momoa, Yahya Abdul-Mateen II, Patrick Wilson, Amber Heard, Randall Park, Nicole Kidman, Dolph Lundgren, John Rhys-Davies

What filmmaker James Wan has given us with two stand-alone AQUAMAN films in the now-defunct DCEU is actually not too shabby given this character’s big screen spin-off was birthed from a joke on ENTOURAGE. 2018’s origin story took bonkers and bombastic to new, maximalist heights in its universe. It wasn’t afraid to get zany and be silly, unwittingly or not, thanks to the ensemble’s Shakespearean-level delivery of its cheesy dialogue. It also knew how to package its dumb fun spectacle within the parameters of a stereotypical comic-book-based, globe-trotting, save-the-world adventure.

While AQUAMAN AND THE LOST KINGDOM hasn’t lost its predecessor’s shine, nor its main ingredient of bananas, there’s a noticeable cutting of corners in the aesthetics and narrative that dull its former brilliance. Wan and company double down on a few broad ideas from the previous picture and, in doing so, raise the internal and external stakes for these characters in a suitably fitting manner. Thankfully it manages to rise above some inconsistent visual effects and a few bad wigs to give us a decent send-off. The director and stars have every reason to phone it in, but don’t.

Aquaman/ Arthur Curry (Jason Momoa) has a lot on the line – and he’s feeling the pinch as a man torn between two worlds. As the King of the waterworld of Atlantis, he’s frustrated and bored. On land, he’s a househusband to Queen Mera (Amber Heard) and the father of a bouncing baby son, Junior (played by what seems like a record total of nine infant actors). Yet things change when Manta/ David (Yahya Abdul-Mateen II), who is still seeking to avenge his dead dad, rebuilds his Atlantean-tech suit and reawakens a long-dormant evil force from its Arctic prison. With the fate of the world in his hands, Arthur must bust his jealous half-brother Orm (Patrick Wilson) out of jail in order to defeat his nemesis’ forces, who are harnessing the deadly power of ancient tech (most of which looks like scrapped designs for THE MATRIX’s Sentinels).

Wan and screenwriter David Leslie Johnson-McGoldrick blessedly don’t skimp on the ludicrousness: Atlanna (Nicole Kidman, who later drops the best line of the film) is reintroduced riding on a mechanical whale like it’s a motorbike; Mera delivers her baby via a shoreline water birth; Orm coaxes out the best audience ick (that Wilson plays to the hilt) munching on a cockroach; and a few of the action sequences employ gags like the use of an invisibility cloak and the bully essentially getting his shoelaces tied together. Performances are what they are. Everyone is committed to the bit. And an honorable mention goes to a campy Martin Short, providing the voice of a fatso fish lord. But the real MVPs are Topo, who serves as Aquaman’s tactical operations partner, and the Brine King (voiced by John Rhys-Davies), who’s the comedic relief.

Despite the cancellation of Wan’s planned Trench spinoff, it’s fun to see him lean into horror influences and overtones in this tale, from some of the otherworldly creatures to THE THING-esque discovery of the evil kingdom. The ecological message is even stronger in this second chapter, showing the dangerous effects of greenhouse gasses harming human and oceanic habitats, not only mutating flora and fauna, but also contributing to climate change. Perhaps the most audacious, affecting elements are the inclusions of heartfelt storylines centered on Arthur as a father protecting his family and his struggle as a new ruler – wanting to do right by his underwater community, but also wanting to co-exist with land-dwellers.

That said, a few story threads are left blowing in the wind, either given lip service or forgotten about full stop. Janky green screen and poor use of The Volume – particularly in the scene where Orm and King Nereus (Dolph Lundgren) scale the titular kingdom’s walls – are glaringly goofy and waterlog the picture’s immersive properties. It also has trouble disguising the soundstage-y look and feel of the climax, which holds narrative payoff but skimps on the effects.

Nitpicks aside, if you enjoyed the first film, you’ll probably dig this too. It might be easy for detractors to mistake this fishy feature as the cinematic death knell of a once-promising era for DC. However, Wan and company handle the proceedings with gleeful gusto, a deft touch and ebullient attitude. All isn’t lost.

Grade: B-

AQUAMAN AND THE LOST KINGDOM opens in theaters on December 22.