Aquaman and the Lost Kingdom Review

Aquaman and the Lost Kingdom, the latest and likely final chapter in DC’s Aquaman saga, attempts to ride the wave of its predecessor’s success but ends up drowning under the weight of its own ambition and missteps. Directed by James Wan, this sequel is a chaotic blend of stunning visuals, lackluster storytelling, and cringe-worthy dialogue that struggles to justify its existence in an already waning superhero genre.

Jason Momoa returns as Arthur Curry, the beer-loving, wisecracking King of Atlantis, and remains the film’s greatest asset. His natural charisma, humor, and physicality make him a delight to watch, even as the script gives him little to work with. His chemistry with Patrick Wilson, who reprises his role as Arthur’s half-brother Orm, is another bright spot. Their reluctant partnership offers some genuine laughs and emotional moments, with Wilson’s stiff and humorless Ocean Master serving as the perfect foil to Momoa’s laid-back Aquaman.

The plot, however, feels like a recycled jumble of superhero tropes. Arthur must team up with Orm to stop Black Manta (Yahya Abdul-Mateen II), who wields the evil Black Trident and threatens both Atlantis and the surface world. The narrative jumps between sprawling settings — from deserts to ice caves to volcanic islands — but never finds its footing. The pacing is erratic, and the story’s lack of depth makes even its most visually spectacular moments feel hollow.

The script, written by David Leslie Johnson-McGoldrick, is riddled with corny dialogue and logic-defying plot points. Nicole Kidman and other returning cast members feel underutilized, delivering performances that seem disconnected and uninspired. Amber Heard’s Mera is sidelined to the point of irrelevance, with her reduced role doing little to enhance the story.

Visually, the film is a mixed bag. James Wan’s signature style is evident in the dazzling underwater sequences and imaginative creature designs, but the CGI often veers into cartoonish territory. The film borrows liberally from Star Wars, The Matrix, and Lord of the Rings, among others, but these references feel more like distractions than homages. Even the soundtrack, with its poorly placed rock songs and comedic cues, adds to the disjointed tone.

While Aquaman and the Lost Kingdom does attempt to incorporate a timely environmental message about climate change, it is overshadowed by the film’s bombastic spectacle and shallow execution. The climactic battle feels anticlimactic, and the post-credit scene — a hallmark of superhero films — is equally uninspired, offering little to get excited about.

Aquaman and the Lost Kingdom is a disappointing farewell to a character who deserved better. Jason Momoa’s charm and a handful of entertaining action sequences can’t overcome the film’s glaring flaws. For fans of the first Aquaman, this sequel might feel like a missed opportunity; for everyone else, it’s an underwater adventure best left unseen.