AQUAMAN: DCEU's Welcoming Detour into the Light Despite the Jumbled Storytelling and Tonal Inconsistencies

Genre: Action, Adventure, Fantasy, Superhero

Produced by: Rob Cowan, Peter Safran

Directed by: James Wan

Written by: Will Beall

Production Company: Warner Bros. Pictures

Starring: Jason Momoa, Amber Heard, Willem Dafoe, Patrick Wilson, Dolph Lundgren, Yahya Abdul-Mateen II, Nicole Kidman, Ludi Lin, Temuera Morrison 

Runtime: 143 minutes                                

SYNOPSIS: 

The underwater city of Atlantis is under threat when Orm (Patrick Wilson) assumes the throne and starts declaring war on his fellow sea beings and the human race. And the one capable to challenge his throne is none other than Arthur Curry a.k.a. Aquaman (Jason Momoa). 

REVIEW: 

Where does the DC Extended Universe go from here? It’s the million dollar question that reflects the studio’s creative conundrum on the back of what was a divisive 2017 for them. It was a year that saw its smaller project Wonder Woman (2017) became the highest-grossing movie in DCEU’s history and its biggest project (or in other words, DC’s version of the Avengers (2012)) Justice League (2017) became its lowest-grossing. For all Wonder Woman’s success, the fact that the studio’s event movie can be its least seen should be a major cause for concern. 

Their road to recovery after Justice League requires so much soul-searching, which includes replacing Jon Berg and Geoff Johns with Walter Hamada as President of the DC Extended Universe movies, ditching Zack Snyder’s darker, serious tone for a lighter, brighter one, as well as prioritizing standalone movies over those team-up movies. And in that regards, Aquaman is their fresh new start. On the one hand, Aquaman as a character doesn’t necessarily represent a completely fresh new start since he had existed pre-Hamada era through his debut appearance in Justice League. On the other, the long-awaited cinematic adaptation to the seafaring superhero is also the company’s test run to see whether this new direction they’re taking is the way forward. 

A major step-up for the DCEU with Aquaman is the CGI. DC has had an anomalous relationship with CGI, one which reached its hilarious peak with the digital removal of Henry Cavill’s moustache in Justice League. And that exemplifies the thing that’s wrong with DC and CGI. CGI should be a part of a movie, not the whole movie. It’s there to fill the gaps on things that are unachievable during production and add more believability to the visuals. DC uses special effects as a shortcut, inventing CGI characters and emotions in moments that could be achieved with real people or motion capture. It doesn’t help that they’re rendered so poorly to the live-action environment that they look video game-esque and cartoonish.  

Aquaman’s case is different. Where there are things in past DCEU movies that could have been done practically, it’s hard to make an Aquaman movie with practical effects. They rely so heavily on CGI. It is that movie where actors spend more time in a green screen environment than a live-action one.  So, why the CGI here worked while it didn’t in its predecessors? 

It’s a movie that understands the function of CGI. CGI is only used for things that cannot be done on the spot, like a fish creature that people can ride on or a living, breathing underwater city. It’s an understanding that paid dividends, with creatures that look like they actually breathe in the same environment and undoubtedly the movie’s real visual highlight, Atlantis looking like a place that is believable. It’s a reason why this movie deserves to be seen in the biggest screens, to appreciate the breathtaking display of bright colors (in a DCEU movie at last), movement and scope that permeates the Atlantis utopia.  And also, they’re rendered so beautifully that it is easy to buy into the idea of these live-action actors inhabiting a fantasy realm than a green screen one. 

Another major step-up for the DCEU with Aquaman is the creative freedom they give to James Wan, the director. It’s no longer a mystery that DCEU have had a bad history with its directors. It’s the simple case of the studio wanting to make a bankable movie and the director wanting to make a quality movie. So often, the best movies are when it is more concerned about the latter. A lot of DC’s stinkers feel like movies directed by a studio, rather than by a director. 

With Aquaman, there’s only a tiny slice of the movie that’s studio-mandated, per Snyder’s request. Some 300 (2007)-style editing remains on sight, particularly in the battle sequences depicting characters running at someone. Fortunately, huge slices of the movie are Aquaman directed by James Wan. Wan brings a much-needed fresh vision to a DCEU production. He is seemingly fond of match cuts, and it is a style of editing that’s used effectively here as part of its storytelling. For example, in one scene, Arthur Curry throws a sword at his mentor Nuidis Vulko’s (Willem Dafoe) direction, and the moment Vulko catches the sword, we are suddenly in a flashback sequence when Vulko is training a younger Arthur Curry. So often, the movie relies on match cut editing to go back and forth between Arthur Curry’s life as a child and an adult. Shot in a more straightforward manner, these two scenes would feel pretty conventional, but it’s Wan’s unconventional approach that makes the conventional appear new. 

Perhaps, what’s more surprising though is how Aquaman manages to take advantage of Wan’s reputation as a horror movie director. His experience directing haunted house movies and slashers influences the way he stages the superhero action. And once again, his directorial unconventionality gives even a mundane superhero action sequence an extra edge. To pick out one, a set piece set in a boat here utilizes Wan’s horror sensibilities, which involves both Mera (Amber Heard) and Aquaman trying to fend off monsters coming into their boat while a severe storm ensues. It’s a set piece that would be more common in a horror movie than a superhero movie. And in a way, Wan directs this scene, well, like the typical James Wan horror movie, complete with the lightning, dark atmosphere, jump scares and hints of creature gore. It injects the scene with the type of creepy thrills that’s very rare in the superhero genre.

At some point, Wan’s horror movie style direction does have its caveat.  Jump scares are effective when it’s used once or twice, but more than that, it will eventually get less effective. And that’s kind of what happened with Aquaman’s action sequences as the movie progresses. So often, explosions happen when characters are in mid-conversation, which lead to some exciting man v. heavily armored army sequence that’s well-choreographed and well-shot in its wide, 360 degree glory. For the first two instances, the jump scare style transition from dialogue to action draws the intended reaction of surprise. Then, it happens like four to five more times in the movie, and by then, its repetitiveness starts to get pretty irritating. 

For all its visual flourishes, the biggest step-up for the DCEU with Aquaman is the thematically emotional story in hand. Past DCEU movies too often prioritize the superhero action over character development. Sure, the main reason people go see these superhero movies are to see the good guy and bad guy fight. Still, the difference between a generic superhero movie and a special one is the knowledge of why the good guy and the bad guy are fighting. 

Finally, Aquaman provides the reason why the good guy and bad guy fight in a DCEU movie. It might be a superhero origin story by genre, but the superhero elements here serve as metaphor on what is in truth a story of a man’s struggle to carve his own destiny. The subtext of what Aquaman is going through is such a human struggle, how the idea of a man dealt with the fantastical scenario of having to choose between a normal human life on land or a royal life underwater is as relatable as a common person mulling over whether to embrace their own selves or conform to the ideals of others. Aquaman’s half-longing, half-hatred of his mother Queen Atlanna (Nicole Kidman) is so real in a way that the character’s emotion is normal for a person who’s dealing with the loss of parental figure. Thankfully, the movie takes its time with the characters and the dilemma in order to get these emotions across. 

At the same time, there’s also a lot of emotional weight in its supporting characters. It is easy to understand why Orm, a man rooted to Atlantean tradition, is jealous over the idea of Aquaman, an outsider, taking his throne. On a female perspective, it’s easy to sympathize with Mera and Atlanna, characters who are forced to leave behind the things they love to be betrothed with people they just don’t love. 

Aquaman seems to have one of comic book movies’ biggest pet peeves through its multiple villain storyline. Superhero movies deserve the right to be epic, but sometimes, on the villain department, they’ve misinterpreted epic by increasing the quantity rather than the quality. Look no further than Spiderman 3 as example, the first superhero movie to ever entertain the idea in giving the hero more bodies to fight with as a way to up the stake.  Almost every time, it does not work. A superhero vs. villain’s confrontation should matter, and it is easier when the hero only has one villain to deal with. It is virtually impossible when the hero has like three or four villains to deal with. In some cases, the stakes in the superhero v. certain villain’s confrontations remain high, and in other cases, they’re as inconsequential as a warm-up fight. Since Spiderman 3 served as the nail in the coffin for Sam Raimi as the Spiderman movies director, it proves that the formula didn’t even work the first time around. 

Eleven years after Spiderman 3, Aquaman faces the same issue in regards to its two villains Orm and Black Manta (Yahya Abdul Mateen II). Orm is definitely not the problem here. He is leaps and bounds above the DCEU’s conveyor belt of CGI-made monster villains, and it is just refreshing to see a DC movie villain that actually matters more to the hero than just some random guy hell bent on destruction. It is only when Black Manta starts to come into the fold where the film fails to justify the existence of multiple villains in its narrative. 

Whereas it is clear that Aquaman defeating Orm and vice versa matters to both sides, one should ask: does it really matter if Aquaman defeats Black Manta and vice versa? If this movie is proof, then it doesn’t. The screenplay already had so much going on with Orm and Aquaman that Black Mantha just look so lost in this movie. And it’s a shame considering the movie does give an attempt at fleshing out Black Manta’s character.  He uses his father’s (Michael Beach) death as a motivation to kill Aquaman. Clichéd, sure, but it’s a promising starting point towards a potentially compelling villain. Yet it’s a starting point that leads towards nothing. 

A disadvantage for most secondary villains, they have lesser screentime than the main villain. Another disadvantage, they are only allowed to pop up once in a while before disappearing for a majority of the movie. Black Manta could have been named Nameless Henchman #1, and it wouldn’t make a difference, such is his irrelevance. He’s nothing more than a background extra, given maybe two or three punches at the hero before being knocked out or brutally shot at. And even when the film requires Black Manta to be emotional, the character’s breezy, chill body language does little favor in selling the idea of a man driven by vengeance. 

Being a fan favorite, the character deserves better. Black Manta should feel like the big bad and his bout with Aquaman should feel like the fight of the century, not just some exhibition match against a throwaway villain. A longer screentime and a narrative that makes their confrontation matter would have made Black Manta more meaningful rather than being shoehorned into one where he is given nothing to do. 

And so, in a film that manages to have villains that both mattered and didn’t at the same time, its core issue is obvious: the screenplay. Structurally, the screenplay is so messy in storytelling and tone. Aquaman is a 143 minutes long movie, but unfortunately, it can at times feel like a movie that’s longer than that. It throws so much stuff onto the screen so fast that it actually hurts the pacing. 

Aquaman is three to four movies compressed into one movie. On one plot point, it’s a battle for the throne movie in the style of Black Panther (2018). Onto the next, it’s a sibling rivalry set in a kingdom movie in the style of another MCU movie Thor (2011). Onto the next, it’s a high fantasy movie in the style of Lord of the Rings (2001-2003) and Clash of the Titans (1981), only it’s underwater. Onto the next, it’s a cross-country escapade in the style of Indiana Jones (1981-present). Not to mention a Michael Bay-style military action movie. It’s an eclectic mix of great movies that don’t necessarily form a great movie as one. 

It also affects the movie’s struggle to balance its lighter and darker tone. On one end of the spectrum, there’s Aquaman, this light, self-aware superhero. But on the opposite end of the spectrum, there’s Orm, Arthur’s dark, self-serious villain. A movie is allowed to be both light and dark, but here, the transition between the two isn’t as smooth as it could have been. It can go from one scene where Orm is out, threatening and killing people, to another where Mera and Aquaman are in pristine-looking, rural Italy, exploring the city while honeymoon-esque music plays in the background. And yes, this is from the same movie. Yet, they’re edited together so awkwardly that these two tonally contrasting scenes seem like they belong in two different movies.  

Jason Momoa, a presence that resembles more of a bodybuilder than an actor, as Arthur Curry/Aquaman is perfect casting both in theory and fortunately, in practice. It is unquestionable that he can make kicking butt look cool onscreen through sheer physique alone. But it is Momoa’s surfer dude personality as the character that stands out, hence providing DCEU with the things it needs the most: a sense of humor and joy. Here, Momoa simply picks up from where he left off, the same badass who looks cool when he’s lifting people up and swinging them around as well as being funnier and more joyful than he was in Justice League. He’s definitely more self-aware of the ridiculousness of the situation he is in, which is supported by the screenplay’s well-written punch lines and Momoa’s comically convincing delivery. Also, more joy is to be had spending time with Aquaman as a human being, a joy that’s fueled by Momoa’s childlike energy that is so infectious that one couldn’t help but smile when they are seeing these CGI world through his eyes. 

Amber Heard returns from her cameo in Justice League as Mera, and her performance here embodies the things great about a princess warrior: badass, charming, sexy. Heard in real life is already amongst the sexiest women alive. She can just don something as ridiculous as a fish skin suit, and she can turn that into a fashion statement. But more than looks, she’s also a fierce soul. Heard is relentless in the action sequences. She rarely put a foot wrong in the close-quarter combat sequences, and even when she’s hurling CGI weapons at goons, she does so with action heroine-style conviction.   And she’s also a compatible partner for Momoa, providing the movie’s source of levity. It’s her playful banter with Momoa that makes the character moment as fascinating as the world around them. Part of why Momoa is funny here is because Heard is as funny. 

Patrick Wilson stars as Aquaman’s villain as well as DCEU’s first human villain in quite some time Orm a.k.a. Ocean Master. Better yet, he’s going to be a tough act to follow. Rare in most villainous performances, Wilson offers a genuine and surprisingly human take on a character that could have potentially been depicted as an over-the-top, Saturday Morning Cartoon big bad with other actors. His rage and menace here actually seep into people’s skin in the subtlest of ways. He doesn’t have to scream out his plan to announce himself as evil, which is always a positive trait in a villain. Also, he is villain that’s willing to get in on the action.  Wilson proves himself to be skilled with the sword and fists against Momoa’s hulking frame. It’s time he is recognized for other roles besides being one part of the Warrens in The Conjuring franchise (2013-present). 

CONCLUSION: 

Bolstered by Jason Momoa’s childlike charm as the titular character, spectacular CGI and campy, balls-to-the-walls action, Aquaman for most parts succeeds in trading DCEU’s doom and gloom for bright, maritime fun, even  when the jumbled storytelling and tonal inconsistencies can be too hot to handle. 

Score: 7/10