Aquaman and the Lost Kingdom marks the culmination of the DC Extended Universe (DCEU), a franchise that has had its fair share of ups and downs. As a viewer who has followed this journey from the very beginning, I couldn’t help but approach this film with a mix of anticipation and doubt, hoping for a decent farewell to a cinematic universe that, while far from consistent and lacking a couple more truly great installments, still delivered a few memorable moments. Just like the 2018’s original, it’s directed by James Wan and penned by David Leslie Johnson-McGoldrick, featuring the return of Jason Momoa as Arthur Curry / Aquaman and Patrick Wilson as his half-brother, Orm. While it’s not a saga’s top-tier flick, I can’t say I left disappointed…

Aquaman and the Lost Kingdom Critique

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Let’s start with the positives. One of the movie’s undeniable strengths can be found in the stellar performances of Momoa and Wilson. The former effortlessly embodies the charismatic, rugged Aquaman, as it has now become an intrinsic role of the actor, while Wilson, as the conflicted Orm, delivers a standout interpretation that adds some depth to the otherwise basic narrative. Their chemistry is genuinely palpable, as their character dynamics provide the most entertaining, amusing moments in the entire film.

The concept of brotherhood is a central theme, emphasizing the intricate bonds that tie Arthur and Orm together. Their interactions are the biggest highlight of Aquaman and the Lost Kingdom, exploring their shared past, filled with rivalry and conflict, through a complex, evolving relationship that becomes the catalytic driving force of the movie, blending moments of tension with genuine camaraderie, and ultimately, poignant resolution. Much of the narrative humor comes from them, showcasing the reliability of the characters and the actors portraying them.

Wan creates visually captivating set pieces that keep the audience engaged throughout. The action sequences, though fast-paced, are well-executed and rather easy to follow. However, despite having the required spectacle levels, I wish the filmmaker had used more of his long, uninterrupted takes. The few instances where this technique is employed definitely stand out, and one can’t help but hope for more of these immersive moments in Aquaman and the Lost Kingdom. The energetic score from the also-returning composer, Rupert Gregson-Williams, complements the action, amping up the tension and excitement when needed, contributing to the overall cinematic experience.

All in all, Aquaman and the Lost Kingdom has enough to “pass the test”, but its simplistic script can’t avoid a myriad of issues. One notable problem is the abundance of lazy exposition throughout the whole runtime, including in the third act where everything is supposed to be clear and focused on the resolution of character arcs and plot threads. The heavy reliance on this storytelling method boggs down the pacing, and while flashbacks can be an effective tool, Wan uses them excessively for a story that, at its core, is quite straightforward.

Consequently, the narrative structure becomes a weak point, as Aquaman and the Lost Kingdom often feels messy, jumping from one plot point to another without much cohesion. It’s as if the production team is merely ticking off boxes, going through the motions rather than crafting scenes with substance. For example, there’s a recurring moment between two characters that repeats five times, becoming more ridiculous with each iteration, and all adding nothing to the story or the characters, accentuating the lack of narrative focus.

Overall, the visuals are mostly consistent, particularly during the action set pieces. There are, however, brief close-ups on characters while underwater where the VFX border on videogame-ish. While not a major issue, these instances can momentarily take viewers out of the film. Finally, a couple of nitpicks probably connected to the fact that this is *the* last DCEU flick: from when Arthur & co. don their superhero costumes to how some characters are aware of certain story elements, Aquaman and the Lost Kingdom holds a fair share of questionable decisions. These inconsistencies create some confusion for the audience, as characters seem to possess knowledge that hasn’t been adequately explained to them within the narrative.

In the end, Aquaman and the Lost Kingdom is really a revenge story that unfolds against the backdrop of family, brotherhood, and duty, all set within an environment of climactic crisis, not provoked by the villain’s actions – Yahya Abdul-Mateen II tries his best as a possessed Black Manta – but instead enhanced, pushing humanity to the brink a few years ahead of its natural trajectory, transmitting a final important message that unless we do something about our world’s health, we are the real “bad guys”.

In Conclusion

Aquaman and the Lost Kingdom is a ‘fine’ farewell to the DCEU. Jason Momoa and Patrick Wilson’s amusing chemistry offers plenty of entertaining moments, as their characters’ complex relationship takes center stage as the primary thematic force. Mostly consistent from a visual standpoint, featuring well-executed set pieces that will leave the more action-addicted fans satisfied. Nevertheless, the overreliance on exposition, a messy narrative structure, and other minor yet questionable decisions detract from the overall cohesiveness of the story. As the final installment, it’s a pretty accurate mirror that reflects the highs and lows of the cinematic universe as a whole. While far from a mind-blowing send-off, it encapsulates the essence of the DCEU – a journey filled with few triumphs, many missed opportunities, and incomprehensible disasters.

6/10

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