Aquaman and the Lost Kingdom sinks the DCEU with a cinematic shipwreck that struggles to find its sea legs
If you stare into the abyss long enough, you might just stat to hallucinate a movie as ill-conceived and lazily executed as Aquaman and the Lost Kingdom. Return to the underwater realm of Atlantis, where Arthur Curry (Jason Momoa) has now fully embraced his role as Aquaman, King of Atlantis. However, his reign is soon threatened by an ancient power that stirs beneath the ocean’s depths. Arthur must unite forces with his estranged brother Orm (Patrick Wilson) and embark on a perilous journey to stop a cataclysmic threat that could destroy both the underwater and surface worlds. Along the way, they’ll encounter a roster of depressingly familiar faces including Mera (Amber Heard), Nereus (Dolph Lundgren), Atlanna (Nicole Kidman) and face off against old adversary Black Manta (Yahya Abdul-Mateen II) who, despite significant power upgrades, still never feels like anything but a c-list sidekick. I mean, nobody quite knows why the last one was such a hit so why risk tinkering with a, well, not a winning formula but maybe a not-losing formula?
In its attempt to stage some kind of epic adventure, Aquaman and the Lost Kingdom ends up trying to blend different cinematic tones in a new tapestry but ends up with a confusing, genre-hopping mess. One moment, you’re plunged into an improbably desert-based Indiana Jones adventure, complete with ancient relics and booby traps, and the next, you find yourself in a knock-off version of Ridley Scott’s Prometheus, where eerie, tension-filled corridors are supposed to evoke suspense and wonder at an ancient civilisation with terrible destructive potential but only succeed in feeling derivative. There’s even a sequence that feels ripped straight out of War of the Worlds, with massive, lumbering sea creatures wreaking havoc. It’s like the filmmakers were playing a bizarre game of movie bingo, ticking off genres without committing to any. This lack of a cohesive identity leaves the audience adrift in a sea of incoherence, never quite sure of what kind of movie they’re watching beyond the obvious: a bad one.
The visual effects are decent enough, but it’s the sheer volume of them that renders the visuals rubbery and unconvincing. Rather than dazzling, it’s a murky mess of images that’s difficult to make sense of and instead of immersing you in the depths of the film’s plot, the overload of CGI drags you, spluttering and coughing, out of it. Scenes that should showcase underwater splendour instead overwhelm the senses, turning what could have been an awe-inspiring spectacle into a visually exhausting experience.
Recycling Black Manta (Yahya Abdul-Mateen II) from the first film is lazy at best, given his distinct lack of menace first time around. This time, despite his increased screen time and his being imbued with a bit more firepower thanks to a Faustian pact with an ancient artefact hell-bent on accelerating global warming for…some reason, his character fails to add any real tension or interest. His motivations always feel shallow, his vendetta against Aquaman petty and a plot device than a compelling narrative. Aquaman and the Lost Kingdom tries to elevate him to a major threat, but his presence is undermined by the poorly executed action sequences and lack of depth. Patrick Wilson, on the other hand, at least manages to have a little fun with Orm on a reluctant redemption arc, transforming from a former antagonist into a tepid ally but again his one-dimensional characterisation from Aquaman hinders any attempt to flesh him out here. The dynamic between these two estranged brothers and the threat from Black Manta should drive the plot, but instead, they just reduce what should be epic showdowns into tedious scuffles. It’s hard to root for the hero when the villains are so utterly uninspiring and unthreatening, leaving the film devoid of any real stakes.
The film’s pacing is another anchor of inadequacy, holding the film back. It drags, and drags, and drags. Scenes that should be thrilling underwater adventures are drawn-out snooze fests. Instead of slicing through the clear blue water, we’re swimming through narrative treacle, bogged down by tedious exposition and meandering subplots. By the time the final battle arrives, you’re more interested in checking your watch than seeing who wins. The action sequences, meant to be the film’s high points, are so poorly executed that they teeter on the brink of becoming unintentionally comical. It’s as if the script was written by a committee that couldn’t decide whether to make a serious action film or a slapstick comedy, resulting in an awkward hybrid that satisfies no one.
Amber Heard’s presence as Mera is minimal, which might be a relief to some, but her performance remains as flat as ever. Her few scenes fail to inject any real emotion or depth into the narrative. It’s like she’s just going through the motions, ticking off contractual obligations rather than contributing anything meaningful to the story. Given the controversies surrounding her personal life and legal battles, her limited screen time feels like a strategic move to avoid further backlash. Yet, even in her brief appearances, she fails to bring any vitality to the character, making her inclusion seem more of a distraction than a contribution.
Another major flaw is the film’s use of space. The wide shots meant to showcase the grandeur of Atlantis feel forced and do nothing to advance the story. These expansive views of the underwater kingdom, which should inspire awe, instead come across as empty spectacle. When the scenes are crowded, the rapid cuts leave no time to appreciate the visuals, creating a sense of disorientation rather than wonder. It’s like being on a fast-paced tour with no time to stop and admire the scenery. The intricate designs and elaborate sets are wasted because the camera never lingers long enough for the audience to fully take them in. Moreover, the underwater environments often feel artificial and lack the immersive quality needed to make the world believable. The frequent shifts between wide shots and tight, chaotic action sequences disrupt the visual flow, making it hard to engage with the scene. It’s a missed opportunity to create a truly immersive underwater world that could have been a character in its own right. Instead, the haphazard use of space and camera work leaves the audience feeling disconnected from the supposedly epic narrative unfolding before them.
Aquaman and the Lost Kingdom is a disjointed, uninspired sequel that fails to live up to even the modest expectations set by its predecessor. Its identity crisis, subpar effects, and lacklustre villain make it a forgettable footnote to the obituary of the DCEU. If you’re looking for a film that blends action, adventure, and fantasy in a cohesive and engaging way, you’re better off diving into the archives for something more buoyant. This one is best left at the bottom of the ocean.

