“Aquaman and the Lost Kingdom” (2023) is the final installment in the current iteration of the DC Extended Universe (DCEU), and it returns with the charismatic Jason Momoa as Aquaman. Directed by James Wan, the sequel has the monumental task of closing out the DCEU while continuing the story of Arthur Curry, who is now both the King of Atlantis and a new father. As much as it attempts to build upon the epic, colorful adventure of the first film, it leans into themes of family, duty, and environmental catastrophe.
The story revolves around Arthur trying to balance his new responsibilities as a father to his infant son, Arthur Jr., with his obligations as king of Atlantis. The crux of the film’s narrative is the return of Aquaman’s half-brother, Orm, who was the main antagonist in the first film. Now, in a surprising twist, Orm becomes Arthur’s ally as they team up to face a shared threat: Black Manta. Manta, who is fueled by vengeance for the death of his father, has acquired the Black Trident, an ancient Atlantean weapon that grants him unimaginable power. Together, Aquaman and Orm must stop Manta before he unleashes a force that could threaten both Atlantis and the surface world.
The film’s visual aesthetic is one of its strong points, as James Wan delivers a spectacle that is as vibrant and grandiose as its predecessor. The underwater sequences are packed with swirling colors, creatures, and extensive CGI that create a rich, albeit often dizzying, world. However, there is criticism that the visual effects sometimes feel overwhelming or overproduced, making the world of Atlantis feel less tangible and immersive. The glossy nature of the CGI-heavy underwater scenes can occasionally distract from the narrative, although fans of big, splashy action sequences may find the film’s visual flair appealing.
One of the key elements of “Aquaman and the Lost Kingdom” is its exploration of the brotherly bond between Arthur and Orm. This relationship, previously defined by rivalry and hatred, evolves into one of reluctant camaraderie and eventually a genuine alliance. Their dynamic is one of the more engaging aspects of the film, with Patrick Wilson’s return as Orm providing a notable performance. Wilson brings a depth to Orm that was somewhat lacking in the first film, turning him from a stock villain into a character with more emotional complexity. His interactions with Momoa’s Aquaman give the film some of its best moments, mixing humor with genuine emotional beats. The tension between the two, juxtaposed with their bickering and reluctant partnership, recalls the buddy-cop dynamic seen in classic films of the 80s and 90s.
Momoa once again shines as the brash, irreverent, and ruggedly charming Arthur Curry. His portrayal of Aquaman is a key reason for the character’s resurgence in popularity, and in this film, he continues to embody the role with the same swagger and humor that made him a fan favorite. However, some critics have noted that the film leans too heavily on Momoa’s larger-than-life persona, with a reliance on action, quips, and spectacle that sometimes overshadow the more introspective aspects of his character’s journey. While Momoa’s charm is undeniable, the film’s script doesn’t always do him justice, often leaving his character development feeling superficial amidst the explosive set pieces.
The film also delves into themes of environmentalism, a timely message that reflects real-world concerns about climate change. The plot revolves around the ancient Atlantean technology of the Black Trident, which has the potential to wreak environmental havoc. The film uses this premise to address the consequences of unchecked power and environmental degradation, with the Atlantean kingdom’s past serving as a warning to the present. The ecological crisis in the film mirrors real-world issues like rising sea levels and extreme weather events, making Aquaman’s mission to save both the ocean and the surface world particularly relevant. While some viewers may appreciate the film’s attempt to weave a message of environmental stewardship into its narrative, others may find the execution a bit heavy-handed.
One of the most talked-about aspects of “Aquaman and the Lost Kingdom” is its action sequences, which are as extravagant as one would expect from a James Wan-directed superhero film. From large-scale underwater battles to fast-paced chases and intense one-on-one confrontations, the film is packed with action from start to finish. However, the film doesn’t quite manage to top the spectacular rooftop chase scene from the first film, which remains one of Wan’s most memorable action set pieces. Despite this, the choreography and visual style of the action scenes are impressive, keeping the audience engaged even when the plot takes a backseat to the spectacle.
Yahya Abdul-Mateen II returns as Black Manta, and while he delivers a menacing performance, the character itself feels somewhat underdeveloped. Manta’s motivations are driven by revenge, which makes him a formidable but one-dimensional villain. His quest for the Black Trident gives him a powerful weapon, but the film doesn’t fully explore the psychological depth that could have made him a more nuanced antagonist. This is a missed opportunity, as Abdul-Mateen has the talent to bring more complexity to the role, but the script doesn’t give him enough to work with beyond typical villain tropes.
Amber Heard’s role as Mera is significantly reduced compared to the first film. She remains a key figure in Aquaman’s personal life as the mother of his child, but her screen time is limited, and her character feels somewhat sidelined in the overall narrative. Despite this, she participates in some of the film’s key action sequences, and her presence still plays a pivotal role in the final battle. Nicole Kidman reprises her role as Atlanna, Aquaman’s mother, and delivers a strong performance, though her character’s arc is less central this time around.
One of the film’s shortcomings lies in its pacing and structure. The plot moves quickly from one set piece to the next, with little time for reflection or character development. While the film never drags, it can feel like a rollercoaster that doesn’t give the audience much breathing room. The rapid-fire pacing works well for the action scenes but leaves some of the more emotional and dramatic moments feeling rushed or underdeveloped. This is particularly evident in the film’s handling of Aquaman’s relationship with his father, Tom Curry, played by Temuera Morrison. The father-son dynamic is explored in a few touching scenes, but these moments are brief and overshadowed by the film’s larger, more bombastic elements.
In terms of its place within the broader DCEU, “Aquaman and the Lost Kingdom” feels somewhat disconnected from the larger narrative arcs that have defined the franchise. With the DCEU undergoing significant changes, this film serves as a swan song for Jason Momoa’s Aquaman, but it doesn’t carry the weight of a universe-defining conclusion. Instead, it focuses on wrapping up Aquaman’s personal story, providing a satisfying, if not particularly groundbreaking, end to his journey. Fans of the character will likely appreciate the closure it offers, but those looking for a more expansive, interconnected narrative may find it lacking.
Ultimately, “Aquaman and the Lost Kingdom” is a film that delivers on spectacle, humor, and action, but falls short in terms of innovation and depth. It is a fun, fast-paced adventure that offers plenty of entertainment value, but it doesn’t break new ground in the superhero genre. The film’s focus on family, brotherhood, and environmentalism gives it some thematic weight, but these elements are often overshadowed by the relentless barrage of CGI and action. While it may not be the most memorable or impactful entry in the DCEU, it serves as a fitting send-off for one of the franchise’s most beloved characters.
James Wan’s direction is visually stunning, but the film’s reliance on CGI-heavy effects can be overwhelming. Jason Momoa once again proves why he’s a fan favorite, but the script doesn’t always give him the material he needs to truly shine. Patrick Wilson and Yahya Abdul-Mateen II provide strong supporting performances, but the film’s villains are underwritten, preventing them from reaching their full potential. In the end, “Aquaman and the Lost Kingdom” is an enjoyable, if flawed, conclusion to the DCEU’s Aquaman saga.
