From the depths of the ocean emerges horror icon James Wan hoisting a shining trident into the air in celebration of “Aquaman”. “Aquaman” is led by Jason Momoa, Amber Heard, and Patrick Wilson in the DCEU’s sixth entry to their divisive catalogue of films. After much concern over a middling marketing campaign and questionable acting, “Aquaman” has made a splash critically and I am happy to report that it exceeded all expectations. For a sub-genre that has grown frustratingly stale, the last two weeks have showcased promise for creative comic-book movie storytelling. Between Sony’s “Into the Spider-verse” and Warner Bros. “Aquaman” there is a promising sign of rehabilitation for a static cornerstone of modern day film-making. Where most comic-book films have begun to blend into each other at a rapid, month-to-month pace, “Aquaman” reinvigorates with sharply defined watercolors spread across it’s canvas. A very large canvas that James Wan explores with a keen eye for exhilarating set pieces and an eye-popping use of color. The camerawork during those set-pieces are quite honestly, second to none. The camera zips, zaps, and soars across tight quartered rooms, the rooftops of Sicily, and to the darkest depths of the ocean’s trenches. There is a clear understanding of the space that Wan is working with, along with a geography that keeps us along for the ride. As the camera gives us an idea of the amount of space and limited or unlimited confines that the characters are working within. This is surely “Aquaman’s” biggest wave and it rides it with artistic precision and unparalleled passion. The likes of which live-action comic-book film-making hasn’t seen since “X-Men: Days of Future Past”. As for Momoa, Heard, and the rest of the cast, they filled their shoes with emboldened stature. Creating a confident iconography for an A-list hero that has been made fun of for decades. Had Wan and the writing team gone down a route that was more self-serious than self-aware, Momoa, Heard, and even Wilson would have crumbled. “Aquaman” simply asks it’s performers to be passable and they do so admirably. Surely there is dialogue for Heard and Momoa that rang a bit false and deflated some scenes, but it was never painful. As far as “Aquaman’s” issues, there aren’t many to list, as it usually gets bailed out from Wan’s direction. There are a few pieces of music that didn’t quite fit with a movie loaded with a terrific score from Rupert Gregson-Williams. The script could have also shaved off some of it’s fattier parts to make for a leaner experience. There isn’t necessarily anything worth removing entirely, but sometimes the movie feels a bit too big for its own good. A removal of a flashback here, or a small piece of banter there would have made “Aquaman” all the better for it. Simply put, “Aquaman” is astonishing. Completely submerging itself underneath it’s naturally silly roots and embracing it in all of its glory. With world building that combines elements from “Star Wars” and “Lord of the Rings” to bring together one of the most heroic comic-book movies in recent memory. There is a lot of “movie” to take in, but there is a constant awe at the sheer spectacle put on display from James Wan. “Aquaman” is kinetic from beginning to end and plays as a firm reminder that comic-book movies can be cool again. “Aquaman” gets an 89/100