Wan’s hypnotic dive on his first comic book action isn’t enchanting as it was anticipated to be.
Wan’s hypnotic dive on his first comic book action isn’t enchanting as it was anticipated to be. This spectacular visual galore is too busy on fabricating the genre with the hip and happening slick nature, that they sombre over the arena of basic requirements of storytelling. This renegade and savior theory is not only outdated, but the reasonings that fuels this drama is bourgeois dogmatic opinion to a people pleasing attitude. The writing is chalky and barely reflects upon any practicality among either the conversations or the flow of the storyline. It surely is visually stunning. The details are rich and wisely cracked up for you to be in awe of the technology.
But what’s fascinatingly dull is the action that takes place up front, it is questionable and at points bizarrely provocative. If the choreography is lethally created and performed than the background where it is set in, shucks away the leaps and kicks and empty punches. Amongst all these hokum, what grabs your attention is the ferocious pace and smooth camera work of Wan, a fine example of it would be the Sahara Desert chase scene that in its own gullible reasons – how should I put it – is pure fun. One of the major weakness of it is its antagonist.
If Wilson is set to embark upon a journey of killing a series of lead characters, then Kane’s obsession over satisfying his revenge is poorly executed. But let’s not rush our way in, the core relationship of Mamoa and Heard itself is so chocolaty that none of the tone is palpable enough to pamper it up. The forcibly imputed humor, the usual bickerings and stealing a gooey romantic moment amidst a war, everything pins down the narration below mediocrity.
Momoa in the lead, as a true heir is perpetually flat on expressing himself on screen. He may have the persona of a God and boy can he fight with his bare chest and raw behemoth figure, but as far as performance is concerned is not even skimming off the surface. Heard too is out of touch, there is so much that her character has to do but it is so belittled by the concept that it is basically left to be a series of fumbles. Talents like Dafoe, Kidman and Wilson are not only underused and misused by over chewing the emotions till it grows numb. It surely has its moments.
The sea creatures, tiny tactics that varies on the surface and underwater and the procedure where the trident is retreated back by its heir, especially the scene with the red flare, such detours every now and then gives us hope to hold on to. Wan has a language and a theme that he has come up with and is persistently aspiring for big moments. But to pull off such a large scale mythological tale is one thing and to stay true to it and match its wide range with narration is another, Wan lacks a better script. Aquaman is not the game changer that DC is looking for, especially not when the rules are this benign.