In the saturated landscape of superhero movies, where predictability often reigns, Aquaman and the Lost Kingdom emerges as a film desperately gasping for relevance. Directed by James Wan and boasting a reported $205 million budget, this sequel to the 2018 film aims to be a grand finale for the DC Extended Universe (DCEU) before a much-anticipated reboot. However, despite high stakes and an even higher budget, the film falls short of its predecessor’s success, succumbing to the undertow of creative fatigue.
Jason Momoa reprises his role as the charismatic oceanic Adonis, Arthur Curry, thrust into a battle against an ancient power threatening Atlantis. Despite Momoa’s considerable presence, the sequel struggles to stay afloat, and even the return of cast members like Amber Heard, Nicole Kidman, and Yahya Abdul-Mateen II fails to salvage the wreckage. Dolph Lundgren and Randall Park bring their talents to the table, but the film feels like a soggy sequel desperately clinging to past glory.
The plot, akin to a half-hearted breaststroke, lacks finesse as it propels Arthur against his arch-nemesis, Black Manta, armed with the formidable Black Trident and harboring an ancient grudge. A surprising twist involves Arthur forming an alliance with his half-brother Orm, played by Patrick Wilson, yet the exploration of themes like brotherhood, betrayal, and redemption falls flat due to clumsy execution.
The film’s underwater extravaganzas and mythical creatures, crafted by James Wan’s mastery of fantasy and horror, present a visually stunning yet distracting acid trip. Wan’s grandiosity often feels like a cheap attempt to divert attention from the lackluster plot, reminiscent of Michael Bay’s style with explosions overshadowing substance. Aquaman and the Lost Kingdom moves through its plot points with the subtlety of a torpedo, relying heavily on familiar tropes from the superhero storytelling handbook’s clearance section.
Despite the challenges and controversies surrounding the film, including Amber Heard’s legal case against Johnny Depp, it somehow manages to be touted as the best live-action superhero film of 2023. However, this accolade is tempered by the fact that other DC movies released in the same year, including The Flash, Shazam! Fury of the Gods, and Blue Beetle, have all faced significant flops. As fans prepare to bid farewell to this chapter of spandexed heroes, the film serves as a stark reminder that even underwater kingdoms can’t escape the sinking feeling of creative bankruptcy.
The movie’s supposed jinxed status, stemming from being the last film in the DCEU before a highly anticipated reboot, and the controversies surrounding its cast, do not overshadow the fact that it stands out as the most successful DC film of the year. This, however, is a relative achievement considering the notable failures of other DC releases. As the curtain falls on this era of superhero storytelling, many argue that the impending reboot is a much-needed change to breathe new life into a genre suffering from creative stagnation.
In conclusion, Aquaman and the Lost Kingdom struggles to break free from the formulaic trappings of superhero storytelling. Despite its visual spectacle and charismatic lead, the film is weighed down by a lackluster plot, predictable tropes, and a sense of creative exhaustion. While it may claim the title of the best live-action superhero film of 2023, this accolade is overshadowed by the broader context of DC’s recent cinematic struggles. As audiences look ahead to the promised reboot, the film serves as a symbol of the challenges faced by superhero franchises in maintaining relevance and innovation in a genre flooded with familiarity.
