Aquaman and the Lost Kingdom (2023)

The critic calls it a kinetic and entertaining popcorn movie that swings for the fences with fun, thanks to strong buddy chemistry between Momoa and Wilson and Wan’s energetic direction. They note the scattershot plotting as a drawback but emphasize its overall charm and spectacle.

The critic finds the sequel an improvement over the original due to its lighter buddy-cop tone and focus on family, while noting the franchise’s uncertain future.

The critic calls it a fun but not great movie, praising Jason Momoa’s self-aware performance and his chemistry with Patrick Wilson as the best reasons to watch.

The critic describes the sequel as breezy and unpretentious with fun buddy-movie elements and exuberant design, but ultimately underwhelming and familiar, feeling like an afterthought in the shifting DC landscape.

The review notes the DCEU's last outing should have tried to make more of a splash, implying it falls short as a finale.

The critic finds the film grandly scaled yet rote and glumly standard, with less wonder than the first and action that feels flat despite 3D.

The critic finds this a disappointing DCEU send-off that ignores broader mythology and loses the first film's charm in a muddled eco-fable/revenge plot. They single out the fun frenemy banter between Momoa and Wilson for praise amid the weary CGI and leaden dialogue.

The critic finds the sequel a serviceable but unremarkable slice of comic-book nonsense, with the bromance between Aquaman and his brother Orm providing some light relief amid familiar superhero tropes and effects.

The critic finds the sequel frustratingly committed to formula with few surprises or inspired moments in the screenplay and a lack of real stakes or risks. They single out the predictable storytelling about family and geopolitics that feels done better elsewhere.

The critic concludes it's no wonder audiences are sick of superheroes, as this confusing sequel drowns in baffling plotlines and derivative storytelling. They single out the stodgy CGI and convoluted intra-tribe politics for complaint, while noting Momoa's charisma.

The critic sees the final DCEU film as both fishy and foul, complaining of garish CGI, clunky dialogue and an enthusiastic but misguided bang that ends the franchise on the wrong note despite some octopus-related fun.

The critic calls the film aggressively unmemorable and a fumbled collage of fuzzy CGI, criticizing the unlikeable hero and rote blockbuster approach that fails to deliver any meaningful engagement.

The critic calls the film a terrible sequel that flatlines with tired tropes, a forgettable plot and a cast going through the motions. He singles out the blandly self-admiring performance by Jason Momoa and the dreary underwater setting for complaint.

The critic deems it the most numbingly moronic film of 2023, with brain cells dying during ugly CGI battles and poorly rendered underwater scenes. He singles out the messy computer-generated action and visual failures for complaint.

The critic finds the sequel deeply uninspired and symptomatic of everything stale in comic-book movies, though notes a few minor positives like Nicole Kidman on a motorised shark. He singles out the overuse of CGI and diminishing returns from Momoa’s performance for complaint.

Aquaman and the Lost Kingdom ends the DCEU on its own chaotic terms with plenty of colorful spectacle but little connective tissue to a larger universe. Wan’s energetic direction and visual flair provide the main pleasures despite a disjointed production feel.

The critic finds it a fun but flawed adventure that excels in its family-focused road trip elements and world-building but is bogged down by a weak opening and environmental messaging. Praises the Arthur-Orm dynamic and fantastical locations.

The film embraces the silliness of the original Aquaman while highlighting both the strengths and weaknesses of the DCEU as a whole. The buddy comedy dynamic between Momoa and Wilson stands out as a highlight amid uneven execution.

The critic calls the film soulless and inept, a pathetic epitaph for the DCEU that feels like a studio obligation rather than a real movie. He praises the chemistry between Momoa and Wilson as well as James Wan's visual style.

The critic describes the sequel as a fittingly messy and choppy end to the DCEU, with a rushed plot and wasted talent despite some strong performances and visuals. He notes the tonal inconsistency and lack of substance in the action and story.

The sequel veers into cartoonish territory with faulty CGI, particularly an ill-fitting Aquaman suit, and inconsistent character portrayal. It lacks narrative direction and fails to make audiences care about the franchise's future.

The sequel flounders with repetitive lowbrow humor and spectacle that lacks tempo or impact, feeling like a step down from the first film. Climate themes and action sequences fail to cohere into a satisfying whole.

The film is a hacked-up mess with choppy editing, a tediously recycled plot, visual noise, laughable dialogue, and a story that makes little sense. It ends the DCEU on a low note that barely clears the low bar set by other recent entries in the universe.