Sometimes it can be difficult to grasp what we’re missing in our lives until we experience it firsthand. For me, this enlightening experience came in the form of Jason Momoa riding a seahorse into battle against the “Ocean Master,” played by Patrick Wilson, and Dolph Lundgren’s King Nereus.
Cinema will never be the same — “Aquaman” is proof we sometimes do have to turn our brains off, sit back and enjoy the wild, over-the-top ride.
Max Rothenberg | Argonaut
Directed by James Wan and based on the DC Comics character of the same name, “Aquaman” follows Arthur Curry, a half-Atlantean/half-human outcast, who very begrudgingly embarks on a quest to save humanity from Atlantis’s — or more specifically the Ocean Master’s — impending wrath.
Accompanying him on his journey is Nereus’s daughter Mera, played by Amber Heard. It wasn’t clear to me exactly what Mera’s powers were, but the CGI sure looked great. Heard and Momoa also have great on-screen chemistry, which helped distract me from what I initially believed was a 3-foot height distance between the two.
The two characters show a surprising amount of growth as the film progresses, although at times their exchanges alter the overall tone a bit too much,
The film takes place one year after 2017’s “Justice League,” although only brief mentions of the infamous film are scattered throughout. Make no mistake, this is a standalone story.
And that’s good news, as a “Justice League” viewing isn’t and shouldn’t be mandatory for anyone to endure.
Incredible cinematography and sense of scale helps elevate this film above its DC counterparts, and this is due to James Wan’s unique style, creativity and flair. Action scenes are very intricate, often pulling the camera far back to reveal more detail or panning into the foreground to show additional fighting somewhere else. I never knew exactly how the camera would track a shot, and that’s a very exciting feeling to have.
The cinematography of one scene in particular, involving a flare and a dramatic exit from a sailboat, will be memorable for many years to come. You’ll know the one.
These decisions stand in stark contrast to what most audiences are familiar with. Quick cuts and almost nonsensical, close-up camera moments are now the norm, and “Aquaman,” despite its other flaws, is simply a breath of fresh air — or at least the underwater equivalent.
Of course, there are still cuts, but large-scale battles and set pieces have never been easier to follow, even those consisting almost entirely of CGI.
As expected of a film with “aqua” in the title, much of the time is spent underwater. As a result, it’s a relief the CGI is some of the best in recent memory. Everything from the water bubbles emitted when characters speak to Willem Dafoe’s always wet hair looking practically flawless, and don’t even get me started on the sharks. The de-aging technology used for Atlanna (Nicole Kidman) is shocking as well.
One standout is the city of Atlantis, a beautiful locale filled with color and personality. While I wanted to see more of the Atlantean culture, the audience still gets a glimpse of the city’s somewhat tragic origin.
While most of my gripes may seem familiar or common — plot holes, excessive length, weird dialogue — it’s important to note Jason Momoa essentially plays himself. He brings so much energy to the big screen it becomes easy to embrace how nonsensical the whole ordeal is.
Some mainstream reviewers have criticized the film for being too “cheesy,” and while that’s a legitimate opinion, I’m not sure they really get the point. How on earth would an Aquaman film even exist otherwise?
My biggest gripe, however, lies in Wan’s usage of Black Manta, Aquaman’s iconic rival. The trailers depicted him as a major villain, and while he steals every scene he’s in, he randomly disappears midway through the second act and is used more or less for sequel bait.
While not the largest issue in the world, the sequel can definitely improve on this.
At the end of the day, it’s fitting that a film about a man trying to find common ground achieves the very same thing with its audience. “Aquaman” is a crazy, creative, surprisingly heartfelt love letter to comic books that any superhero fan — Marvel or DC — can enjoy despite its flaws.
Wan was confident enough to rise to the challenge, so … out of curiosity, does “Justice League 2” need a director?
Max Rothenberg can be reached at [email protected] or on Twitter @theRothenberg