Reviews:  A special splashy super comic superhero 

Undated film still handout from Aquaman. Pictured: Jason Momoa as Arthur Curry/Aquaman. See PA Feature SHOWBIZ Film Reviews. Picture credit should read: PA Photo/Warner Bros. Entertainment Inc./Ratpac-Dune Entertainment LLC/Jasin Boland. All Rights Reserved. WARNING: This picture must only be used to accompany PA Feature SHOWBIZ Film Reviews.
Undated film still handout from Aquaman. Pictured: Jason Momoa as Arthur Curry/Aquaman. See PA Feature SHOWBIZ Film Reviews. Picture credit should read: PA Photo/Warner Bros. Entertainment Inc./Ratpac-Dune Entertainment LLC/Jasin Boland. All Rights Reserved. WARNING: This picture must only be used to accompany PA Feature SHOWBIZ Film Reviews.

AQUAMAN (12A) 

Oceans rise and standards fall in Aquaman, a bloated origin story for the eponymous DC Comics superhero which capsizes in a tsunami of splashy digital effects and melodramatic storytelling.

Armies of armoured crocodiles and seahorses clash in a titanic battle to the thunderclap of composer Rupert Gregson-Williams's bombastic score. Sweeping panoramas of otherworldly marine creatures locked in bloody combat owe a debt to The Lord Of The Rings trilogy in their gargantuan scale and execution, but there is no emotional connection to two-dimensional characters in the midst of the melee. Jason Momoa flexes his muscles and pearly whites in the title role, imbuing his reluctant heir with flashes of rough charm and humour when he isn't conversing with co-stars using his fists. Nicole Kidman and Willem Dafoe, sporting a fetching man bun, buoy throwaway supporting roles and refuse to drown in the relentless onslaught of special effects trickery. We are not so fortunate.

SORRY TO BOTHER YOU (15)

Chicago-born rapper Boots Riley makes his feature film directorial debut with an audacious, wildly inventive and frequently uproarious satire about workplace culture, black exploitation and rampant capitalism.

It's fair to say that Sorry To Bother You won't be everyone's tipple and there are madcap moments in Riley's script when the wheels threaten to come off this runaway train of thoughts.

However, patience and gargantuan suspensions of disbelief reap rewards over almost two hours, which simultaneously bamboozle, delight and astound.

The writer-director has a penchant for visual gags in background detail like a rogue photocopier, which churns out reams of paper, creating a snowstorm of tumbling A4 around despairing employees.

Writer-director Riley holds firm to his ambitious and outlandish vision, and occasionally draws blood with his barbs.​​​​​​​