With the Snyderverse films failing to make a mark in cinema, the responsibility for saving the DC Extended Universe (DCEU) has fallen to none other than Barry Allen. The journey to this point is rife with enough scandal to make several documentaries and maybe an Oscar-caliber film. Yet, after several production and personal delays, we finally have our Barry Allen movie, The Flash.
The Flash picks up where 2021’s Zack Snyder’s Justice League (because we don’t acknowledge the other one) left off. Barry (played by Ezra Miller) has found a way to use his powers to travel back in time to save his mother from dying and his father from prison, ultimately causing a disastrous butterfly effect.
The implications of this journey to the past weigh heavy for the characters in the film and the DCEU. Does The Flash have what it takes to carry the DCEU away from its disappointing past and into the future? It could have, but the devil in the details won’t let The Flash be great.
Structurally, The Flash feels bloated. Instead of the three-act formula that goes from introducing the character to presenting the challenge to resolving said challenge, writer Christina Hodson and director Andy Muschietti make The Flash into three movies in one.
The first act/film is a body-swapping teen comedy (think Freaky Friday); the second act/film is a sci-fi drama; and the third act/film is a superhero movie. None are horrible, but all suffer flaws that undermine The Flash’s potential.
Writing is the culprit in the first act as it starts strong with wit, but the jokes and gags become redundant and tiresome. The banter between present-day and alternative universe Barry is amusing, especially the Back to the Future back and forth. Still, the opposites day schtick wears thin after being used beyond the point of its need to establish the difference between the Barrys.
The second and third acts are more entertaining as they bring The Flash closer to the comic book movie realm by establishing the overarching stakes and providing all of the action. They have The Flash’s most heartfelt and exciting moments, specifically in the scenes involving Barry speaking about or with his family and many easter eggs late in the film. However, Muschietti’s pacing threatens all the good from those acts with filler between those points that cause them to run at least 15 minutes too long.
Visually, the situation is equally inconsistent. The need for heavy CGI is justified when working with the Flash because it’s the only way to show his speed and its impact on everything and everyone. At times, such as Flash’s sprints, Kara Zor-El’s flights, and Batman’s action sequences, it borders on breathtaking.
Alternatively, The Flash features plenty of Henry Cavill’s disappearing mustache moments among those flashes of awesome. The scene where it’s raining babies is several steps down from what average Joe is doing with AI daily. The lack of attention to detail and editing involving CGI is so bad that it even diminishes what’s easily among the best easter eggs ever put in a comic movie.
Thankfully, The Flash has the luxury of standout performances from Miller and Michael Keaton. They are indeed the film’s saving grace.
In his best turn since his breakthrough role in The Perks of Being a Wallflower, Miller deftly uses his rarely-seen comedic chops to play two distinct but equally charming versions of Barry. He nails the self-depreciation needed to be convincing as the nerdy, timid present-day Barry. Conversely, he’s fantastic as the high, err, laid-back and eccentric multiverse Barry. If this type of performance came in another genre, it would be among the most talked about in a different conversation.
While this version is lighter than the 1989 and 1991 iterations of the Caped Crusader he previously played, Keaton slides back into the Batsuit without missing a beat. The charisma and pitch-perfect bravado he brings to the character created perfect chemistry with Miller and reminds us why he still ranks as the best Batman aside from the late Adam West.
To a lesser extent, Calle's performance echoes Miller’s and Keaton’s in terms of fit. However, what she brings is more solemn and stoic, but that’s what Kara Zor-El’s circumstances require.
With more attention to detail in narrative, pacing, and special effects, The Flash could have been a game changer in the DCEU and the comic book movie genre. It has two remarkable performances from Miller and Keaton but lacks the behind-the-camera support needed to take the film to another level.
The Flash will not rank among the best comic book films ever. Honestly, it’s not even a top 3 DCEU film. Instead, it settles for being a solid but maddingly frustrating way to spend 2.5 hours. There’s no need to catch this one in IMAX or another premium format due to the subpar visuals, so standard is acceptable.
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