by Written by a 25-year-old movie blogger with 5 years of experience reviewing superhero cinema for fans who expect more than just flashy visuals.
When it comes to superhero movies, I’ve always believed there’s a fine line between fun and foolish. Unfortunately, James Wan’s Aquaman and the Lost Kingdom doesn’t just cross that line—it cannonballs over it, fully clothed, into a whirlpool of chaotic CGI, cringeworthy dialogue, and uninspired storytelling.
As someone who’s been watching superhero films for over a decade—and blogging about them for the past five years—I went into this sequel with cautious optimism. The first Aquaman (2018) was visually rich, a bit goofy, sure, but enjoyable overall. Jason Momoa had charm, the underwater action scenes were creative, and despite some flaws, it brought something refreshing to the DC Universe.
But The Lost Kingdom? It feels like a soggy mess that forgot its anchor.
Plot Summary: A Kingdom Lost in Logic
The film picks up with Arthur Curry (Jason Momoa) juggling his new life as the King of Atlantis and a family man. He’s married to Mera (Amber Heard), and they have a child. That subplot barely matters, though, because the film quickly spins into an overcooked narrative about Black Manta (Yahya Abdul-Mateen II) seeking vengeance using an ancient magical power called the Black Trident.
This weapon, steeped in forgotten Atlantean lore, awakens a dark force threatening the entire world. So, naturally, Arthur must team up with his estranged half-brother Orm (Patrick Wilson)—the villain from the first film—to stop this apocalyptic threat.
Sounds epic, right? Unfortunately, Aquaman and the Lost Kingdom delivers this plot with the energy of a fish gasping for air on a beach.
Writing and Pacing: A Script Drenched in Dumb Decisions
One of the most glaring flaws of The Lost Kingdom is its screenplay. Written by David Leslie Johnson-McGoldrick, it suffers from what I call “forced franchise fatigue.” Every line of dialogue feels like it was written to check off a box: banter? Check. Brotherly tension? Check. Half-hearted jokes? Triple check.
Instead of developing genuine chemistry between Arthur and Orm, the film reduces their dynamic to tired sibling clichés. The humor is strained, the exposition is relentless, and there’s barely a moment of emotional truth.
Even in superhero films—especially in superhero films—emotional beats matter. They anchor the fantastical elements and give us a reason to care. But here, even the most dramatic moments fall flat.
The pacing doesn’t help. The movie sprints through scenes with little breathing room, barely giving us time to connect with characters. From ancient Atlantean tombs to frozen wastelands, The Lost Kingdom feels like it’s always running, but never toward anything meaningful.
Visual Effects: Quantity Over Quality
Now, let’s talk visuals.
James Wan is a director known for his stylish action (see: Furious 7), and while he certainly doesn’t hold back here, the film suffers from the same over-CGI syndrome that has plagued many recent blockbusters.
There are underwater battles with giant seahorses, monstrous crab creatures, and swirling magical energy—but none of it feels grounded. Instead of awe, I felt fatigue. It’s like watching someone else play a video game with the saturation turned all the way up.
Worse, the editing choices don’t help. Scenes are cut so quickly and chaotically that it’s difficult to understand what’s happening or why. The result is more disorientation than immersion.
Performances: Drowning in a Sea of Confusion
Jason Momoa is undeniably charismatic, but here, he’s forced to carry a script that gives him little room to breathe. His Arthur Curry lacks the emotional complexity that made him interesting in the first film. He grins, growls, and occasionally shouts about family, but it all feels surface-level.
Patrick Wilson’s Orm is one of the film’s few bright spots. His performance is solid, and his character’s arc—from exiled villain to reluctant ally—is mildly compelling. But again, the script doesn’t do enough to explore this redemption.
Amber Heard’s Mera is barely present, likely due to the controversy surrounding the actress. Nicole Kidman, playing Queen Atlanna, gives one of the most awkward performances of her career. She looks visibly confused in several scenes, like she’s questioning how she ended up underwater again.
Yahya Abdul-Mateen II is completely wasted as Black Manta. He’s a villain with a tragic backstory and legitimate motives, but here he’s reduced to a growling henchman obsessed with destruction. His potential as a layered antagonist is left unexplored.
Themes: Environmental Message Gets Lost at Sea
One of the film’s attempts at depth lies in its underlying message about global warming. The melting ice caps, rising oceans, and the unleashed ancient evil are clearly metaphors. But they’re delivered with such a heavy hand that it feels like being lectured during a fireworks show.
This could have been a meaningful narrative thread, especially considering Aquaman’s connection to the ocean. But like everything else in the film, it’s lost in the noise.
Audience Reaction: A Box Office Iceberg
With a bloated $205 million budget, Aquaman and the Lost Kingdom needed a tsunami of ticket sales to stay afloat. But judging by the muted audience response, that seems unlikely.
When I left the theater, the energy in the room was one of collective confusion. People whispered, “What did I just watch?” or “That was… a lot.” Not good a lot—just a lot.
Final Verdict: A Shipwreck of a Sequel
As someone who loves comic book movies and has invested years blogging about the highs and lows of Marvel, DC, and everything in between, I’m not someone who enjoys bashing a film just for the sake of it. But Aquaman and the Lost Kingdom left me frustrated—not because it was different, but because it was lazy.
It’s not enough to throw bright lights and loud sounds at the screen and call it cinema. Audiences deserve stories with substance, characters we care about, and action that means something.
This sequel had all the resources—talented actors, an acclaimed director, a massive budget—but squandered them in favor of empty spectacle. It’s not just one of the worst superhero films I’ve seen. It’s one of the most disappointing films of the year.
Would I Recommend It?
Only if you’re a hardcore DC completionist or want to see what not to do in a superhero movie. Otherwise, skip this and watch something with a soul—like The Batman, Guardians of the Galaxy Vol. 3, or The Holdovers.
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