Aquaman and the Lost Kingdom review: Jason Momoa-led film sinks the DCEU

So this is how DCEU ends: not with a bang, but with a whimper. James Wan's Aquaman and the Lost Kingdom, the supposed grand finale to a decade of cinematic chaos that was this cinematic universe, feels less like a triumphant send-off and more like the last gasp of a drowning franchise desperately clutching at straws. As I sat through the aquatic escapades, I couldn't help but wonder if this was the best they could muster for the swan song of the DC Extended Universe.

The film kicks off with the reluctant king of Atlantis, Arthur Curry (played by the perpetually bro-tastic Jason Momoa), now burdened with the responsibility of ruling the underwater kingdom. Apparently, being a superhero and saving the world wasn't enough, so now he's juggling royal duties and parenting a little Aquababy (because nothing says epic superhero saga like diaper changes and bedtime stories).

The plot tries to throw in some environmental messaging. But it also comes off as too heavy-handed for the simple reason that it is subtle as a sledgehammer to the face. There's also the obligatory family drama, with Arthur teaming up with his half-brother Orm (Patrick Wilson), who conveniently becomes an ally after spending the previous movie as a villain. The power of brotherly love and shared daddy issues and whatnot.

Wan, otherwise known for his horror, seems to have forgotten that not every scene needs to be a jump scare. The underwater world, which was visually impressive in the first film, now feels like a tired rehash of CGI overload. The aquatic creatures that once dazzled now come off as cheesy and over-the-top in the worst way possible. It's like the film raided the leftover special effects bin from a '90s sci-fi flick.

Speaking of leftovers, Amber Heard's Mera is back, adding nothing substantial to the story except perhaps a reminder of the off-screen controversies that have plagued this production. The chemistry between Momoa and Heard is as lukewarm as ever, making you wish they had left Mera on the cutting room floor.

The film makes indifferent attempts to inject humour, but the jokes fall flat. Momoa's laid-back, surfer-bro persona, which was charming in small doses, now feels like a one-note performance stretched to its limits. The film's self-awareness about its lack of subtext is more cringe than clever.

Despite the flaws, there are things to like. Wilson, in particular, gives a stand out performance. His Orm is complex, layered, and brings some much-needed depth to a film drowning in mediocrity.

Aquaman and the Lost Kingdom ends up being a forgettable finale to a turbulent era of DC superhero cinema. It's a mishmash of recycled tropes, lacklustre humour, and CGI excess that fails to capture the magic of its predecessor. As the final chapter in the DCEU saga, it leaves you with a sense of relief that it's finally over, but also disappointment that it couldn't have gone out with a more triumphant splash. Because despite everything, there were some bright spots in this cinematic universe.

Farewell, DCEU, and thanks for this final underwater headache.