“The Flash” has never been one of the most exciting superheroes (here he’s aptly self-described as the “janitor of the Justice League” who always seems to be “cleaning up bat messes”), so it should be seen as an even greater accomplishment that director Andy Muschietti‘s film is as good as it is. By placing an emphasis on the smarter and more emotional side of the story rather than the visual spectacle, the movie is thematically much richer than the customary loud and dumb summer popcorn flicks to which audiences are well-accustomed.
In this DC Extended Universe (DCEU) installment, worlds collide when Barry Allen (Ezra Miller) uses his superpowers to travel back in time with the goal of preventing a tragic event in the past. His attempt to change the timeline has consequences, as he alters the future and creates a reality where there’s no Superman (Sasha Calle‘s introduction as Supergirl is fun, but feels rushed) or Aquaman, Batman (Michael Keaton) is retired, and General Zod (Michael Shannon) has returned and is threatening to annihilate the universe. Without the help of his fellow heroes, Barry must use his wits to save the world and reset the timetable before it’s too late.
The story goes to a place that that will make every superhero fan groan: the multiverse. Don’t panic, though, co-writers Christina Hodson and Joby Harold have actually put care thoughtful care into their clever narrative, and the idea of different timelines and realities not only make sense, they aren’t wholly ridiculous or irritating. In similar films that head into the multiverse, it more often than not feels like a lazy cop-out where every death or shocking revelation can later be explained away by shouting, “Gotcha! It was only time manipulation.” Here, there are real consequences in situations where the stakes are extremely high.
Barry partnering with an alternate version of himself is a lot of fun, as is meeting DC heroes old and new. There are a lot of amusing cameos that will make fans very happy. The core of the story is a classic one, giving Barry a real motivation to go back in time to alter the past. The thought of being able to change our present by finding the ability to prevent tragedy, right wrongs, and save the people we love is one that is universal, and it works well here.
While the story is engaging, the visual effects are abysmal. The CGI is cartoonish and dark, with inarticulate motion and a dreary palette of dark grays and blues. It’s a terrible looking movie, something that is amplified during the poorly executed action sequences. Things that sound good on paper end up feeling lame, including a silly intro scene of a hospital that’s raining babies. The fight choreography and stunt work is so much better than the computer animated bits.
My favorite element of the movie is Miller’s lead performance. He’s tasked with playing an alternate version of himself, sharing the screen with a younger Barry for much of the movie. This isn’t an easy thing to do, and Miller excels at it. This is one of his best performances, and one that plays perfectly into his endearing awkwardness and bumbling charm. Despite Miller’s disturbing string of personal scandals, you’ll find he’s the best thing about the film (if you have the ability to separate the art from the artist).
I never expected to be so emotionally invested in a summer superhero movie about a character I care so little about, but “The Flash” has a sweet and touching story that’s combined with a lot of fun surprises, bursts of corny nostalgia, and a bevy of cameos that will result in audience cheers and applause. Strangely enough, it’s one of the best film in the DCEU canon.
By: Louisa Moore
