Thought I’d challenge myself a bit today – so while I review DC’s 2018 feature Aquaman, co-written and directed by James Wan, I’m going to try to tuck in numerous H2O related tunes that will aptly describe the mood and feelings of the characters or situation.
Opening with the mythos behind the birth of the superhero, through random happenstance, a lighthouse keeper, Thomas Curry (Temuera Morrison), rescues a Queen, Atlanna (Nicole Kidman), who has washed ashore from the deep blue sea – a cosmic chance or fate bringing two wholly different individuals together. . . love at first sight.
Jason Momoa, who plays the titular character of Aquaman, with Filmizon.com’s Nikolai Adams
Alas, sometimes things just aren’t meant to be, and Atlanna’s former life comes knocking (violently, I might add), and she is forced away from her husband and young son Arthur. . . the boy will someday become Aquaman (Jason Momoa). Telling her love that she will one day return, each dawn Thomas can be found (Sittin’ On) The Dock of the Bay waiting for his soul mate to return.
Now an adult (having been secretly trained throughout the years by samurai-like Atlantian, Vulko – Willem Dafoe), Arthur looks to help those who find trouble on the water. . . boarding a Yellow Submarine (no, not really), as pirates have raided the submersible.
Besting Manta (Yahya Abdul-Mateen II) and his team, Aquaman has a lapse in judgement, leaving the pirate’s father (Michael Beach) trapped onboard to die – creating a persistent lifelong enemy.
A three-pronged tale, much like Aquaman’s trident weapon, the third narrative takes us Under the Sea to the lost city of Atlantis, where its King, Orm (Patrick Wilson), is attempting to unite the underwater kingdoms in order to rise up and conquer the nations of men – as he is tired of the constant pollution, the harming of sea life, and man’s constant underwater tinkering (though a dictatorial ruler, he may have a point here).
A controversial and rather violent plan, wise Atlantians like Vulko and the King’s betrothed, Mera (Amber Heard), know that When the Levee Breaks, billions will die. . . while others, like Mera’s father, King Nereus of Xebel (Dolph Lundgren), are quick to follow the strong-willed leader. To unite everyone, Orm must also sway the Brine King (John Rhys-Davies) and King Ricou (Djimon Hounsou).
Graham McTavish, who plays the First King, Atlan, with Filmizon.com’s Nikolai Adams
With racism playing a part – no one wants a half-breed challenging for the throne, Aquaman, with the help of Mera, must attempt to recover the ancient trident of the First King, Atlan (Graham McTavish), as the lore claims that only the true King can wield the powerful weapon. Entering the Octupus’s Garden (more like a Leviathan), will Aquaman be able to recover the prized artifact and unite the underwater factions, finding a Bridge Over Troubled Water? If he comes face to face with his maniacal brother, will their meeting bring Smoke On the Water?
A film of lush colours and striking vistas, taking us from Sicily and the Sahara, to the mesmeric underwater worlds, Aquaman and Mera struggle with their respective opposing worlds, a negative answer to the question Have You Ever Seen the Rain?, neither at first willing to open their eyes to the unique beauty and charm of the locales and its people – Arthur truly feeling like a fish out of water, unsure of himself and his abilities to lead and unite. . . Mera’s response, Cry Me a River.
John Rhys-Davies, who provides the voice of the Brine King, with Filmizon.com’s Nikolai Adams
Pulling from multiple elements, you’ll see some of the legend of Excalibur (after all, if Aquaman succeeds, he’ll be crowned King Arthur), the glitzy comic-bookery of Thor: Ragnarok, some of the fish out of water comedy found in Splash, an adventurous streak that resembles the Indiana Jones movies or Romancing the Stone, a sly wink to Pinocchio, numerous fantasy films, an historic touch (references to the first king of Rome – Romulus, and, the story does revolve around the lost city of Atlantis), as well as several other sources. . . all fused with Wan’s visual eye – a slick, stylish action (with slow-mo, a variety of smooth camera techniques – no shaky cam here). Perhaps the best use of his skill can be found in the submarine action scenes, a cheeky charm coming from the character, comedy pulled from the tussle, style pulled from the substance; though the Sicily sequence is also quite the spectacle (the ways in which Wan keeps two divergent action scenes linked together through cranes, cable cameras, and other techniques is quite impressive, Aquaman’s action transitioning to Mera’s chase which takes place on two different levels. . . also focus to see that her portion is one long take at times pieced together by CGI – all visually dynamic film making). As the movie progresses, it does get a little over the top (CGI and all), but honestly, that is to be expected from an underwater comic book flick like Aquaman.
Though it lacks some of the heart and more moving elements of Wonder Woman, Aquaman is a slick, entertaining popcorn flick, featuring excellent performances, another step in the right direction for DC. With a vein of humour running throughout, Wan’s stylish direction and solid story (along with frequent DC scribe Geoff Johns and Will Beall – Gangster Squad) comes shining through, a striking gilded trident that distracts us from the few flaws there are. Rupert Gregson-Williams score must also be mentioned – a heroic soundtrack that fuses traditional instruments with a techno, otherworldly sound. So, don’t test the water, Splish Splash right into this adventure, it’s got more than enough excitement to spare.