Directed By James Wan
Starring – Jason Mamoa, Amber Heard, Willem Dafoe
The Plot – Arthur Curry (Mamoa) learns that he is the heir to the underwater kingdom of Atlantis, and must step forward to lead his people and be a hero to the world. Standing in his way is the leader of a dangerous army, led by Arthur’s brother King Orm (Patrick Wilson). Will the communicator of underwater life stake his claim, or will the wrath of the Seven Seas provide too much for him?
Rated PG-13 for sequences of sci-fi violence and action, and for some adult language
– James Wan’s immense scope on this decades old property. After you see the film, you will have no doubts that this modern day maestro was the right man for the job, as the variety of geographical set pieces and enhanced world building gives new life to the property many deemed impossible to bring to the big screen. Wan spares zero expense when it comes to capturing the sheer magnitude of the world beneath our feet, bringing with him several rumbling action set pieces and believably textured C.G work as far as the eye can see, that is sure to silence even the loudest doubters.
– Consistency of tone is key. One thing that D.C has failed with at nearly every big screen release until now is the cohesive bond that appropriately measures humor and drama respectively. Thankfully, “Aquaman” feels like the blueprint for future successes here because it keeps each within their boundaries, so as to never encroach on the importance of the other. What’s most commendable is the humor doesn’t feel forced or immature to the kinds of personality that the characters maintain throughout the film. There’s this very accommodating sense within the material that doesn’t just cater to older audiences like in past movies, allowing kids the chance to enjoy the wonderment and light-hearted atmosphere that this company has been under-appreciating in its comic movies.
– Strong ensemble work all around from this talented cast. While this is certainly a breaking out vehicle for its main star, who exuberates enough brawn and bravado behind a crooked smile, I was surprised at the allowance given to the supporting cast as well. Heard possibly steals the movie in my opinion, carving out another female heroine for D.C in ways Marvel can only dream of. Likewise, Dafoe, Nicole Kidman, and Patrick Wilson each turn in impactful dramatic turns, giving the franchise name tremendous value because of the sum of its big name parts. It could be easy for any of them to get lost in the ridiculousness of wearing these costumes or donning these tridents, but each actor brings with them a level of professionalism that makes them believable in their respective roles, transcending the familiarity of their appearances into the characters they are portraying.
– The single most beautiful looking superhero film of all time. Yes, I just gave “Aquaman” the honors over films like “Guardians of the Galaxy” or “Thor”, mainly because the difficulty in capturing the beauty of something as dark and mysterious as the sea is something film just hasn’t captured until now. Don Burgess’s turquoise filtering reaches an astonishing level of consistency throughout, but it’s his enveloping nature of the above water landscape shots that constantly captured my attention and stretched the boundaries of imagination, making these two worlds truly rub together synthetically. Whether you like or hate this movie, everyone will feel like they just came out of a film where the pages of a comic book came to life, and that above everything else is probably the most important aspect to any comic book adaptation.
– Learning from mistakes. Where “Aquaman” takes perhaps its biggest step forward is the decision not only to not make this an origin story, but also not to cater to a future installment before attaining greatness with this current film. Sure, there’s certainly flashbacks to Arthur’s training growing up, but they actually serve a purpose in echoing the timeline of current day, all the while leading to a big discovery that shakes both timelines immensely. If you’re watching this film for a link to other D.C movies, you will be very disappointed, but I think that’s the proper steps necessary for finally gaining some traction of momentum for this once storied company.
– Hits and misses with the music. While I despised the soundtrack for this movie (A Pitbull cover of Toto’s “Africa”? Seriously?), the compositions of Rupert Gregson Wagner more than carried the load in this particular area. Wagner’s entrancing and wonderous musical score instills enough fantasy to the outline of the picture that really makes those moments of triumph truly pop. In addition, the thunderous audible presentation of the war sequences bring with them a sense of rumbling urgency that frequently hold your attention, and echo that of war genre films like “The Thin Red Line” or “The Patriot” that juxtapose that level of uncertainty on the screen.
– Creative touches in serene camera work. Wan is the culprit here once again, as his revolving scope around these important scenes of dialogue experiment in a way that truly allows the audience to move and immerse themselves in the thick of the water itself. This one-of-a-kind experience gives us several takes of textbook pasting in editing that made even me question several times if what we are seeing was long take sequences of long-winded dialogue delivery. It’s great to see Wan has developed a level of personality behind the lens that constantly evolves with each project, and never distracts or takes away from the beauty within the fantasy of the setting.
– Despite the setting being this fantasy realm of caves and creatures, the material itself is instead grounded in this family hierarchy, debating the bond of blood relatives in a way that everyone watching can relate to. Think “Game of Thrones” set in a world of fantasy and you’re already halfway there. What I love about this dynamic is it takes something as unfamiliar to us as the deepest darkest blue and withdraws from it this level of family drama that everyone has dealt with at one time or another in their lives. More than anything, this makes “Aquaman” certainly the most relatable and accessible to audiences enjoying one of these movies for the first time ever, and highlights yet another layer of brotherly bond that we thought we’ve seen enough of.
– Manta, while looking menacingly awesome in a detailed body suit, never feels like an important or vital part of the film because of limitations of time given to his development. This is also the only light pacing issues I have with the film, as every time we cut to his subplot, it all just feels like filler to reach the 130 minute desired run time and breath for the more important war that Arthur is building towards. I would’ve preferred they saved this antagonist for an Aquaman sequel instead, allowing them not only to properly flesh out the revenge associated with the character, but also proper time for Yahya Abdul-Mateen to shine in the role.
– Clunky dialogue. There are still problems in the script with characters speaking these cringing lines with such a lack of conviction. That’s not to say that it’s the actors faults, just that far too often these lines don’t flow as natural conversation, instead catering to the superhero demographic that literally forces these people to say these same tired lines. A great example is “The Dark Knight”, where no one speaks like a superhero or villain, instead sounding like a conversation between HUMAN beings, that transcends its superhero label. “Aquaman” shakes itself of all of these familiar tropes except for this one, and it makes for instances of unintentional humor that were distracting.
My Grade: 8/10 or B+