The Flash: A CBM That Doesn't Change The Game

Director: Andy Muschietti

Run Time: 2 hours 24 mins

I’ve gone from not planning to see The Flash, to committing to seeing it with no expectation of enjoying it, to plans to turn the review into a recount of Ezra Miller’s crimes, to this final version. This will be a review solely of the film, but begin with the caveat that I do not support the marketing and wide release of the film if Miller earns subsequent money from the production because of arrests, restraining orders, and dismissed charges for crimes ranging from disorderly conduct, harassment, threats, to assault and unlawful trespass. 

Even with their PR team and supporters pushing treatment during their one year probation, I do believe in the power of Hollywood and any person, entertainer or common folk, whose power and fame aids their criminal activity, isn’t something I can support.

The Flash is about Barry Allen’s (Miller) inability to get over two life events: the death of his mother (Maribel Verdú) and his father (Ron Livingston) being charged with her murder. He’s struggling to fit into the superhero world, but regular life isn’t too fun either as he works in forensic research and struggles to connect with his coworkers. 

After an especially emotional day, Barry discovers that his speed abilities allow him to travel back in time and he can even choose when to exit time. He decides to travel back in time and visit a world where his mother lives, but this leads to run-ins with a younger version of himself, different versions of the Justice League, and both familiar and unfamiliar villains.

Overall, The Flash is one of the better DCEU entries, but that’s not saying much for a universe of films often found thin or clunky. Muschietti focuses on the human side of meta-human Barry and that leads to a solid emotional journey; the story is also a famous comic arc so there’s a foundation there already. Fans may not like the liberties taken, but similar to the battle in Batman v Superman: Dawn of Justice, some things you just want to see on a big screen. The Flashpoint story is one of those.

Is the story earned, after all this time, maybe not. The Flash might work on paper. The score is engaging and there are plenty of capable actors available. The villains have little to do in terms of script and become more of a checkbox, but the script is funnier than most DCEU movies. Some of the humor made the audience laugh out loud while other moments brought groans. In short, I was never bored, but I wasn’t always entertained either.

This cast is probably the most eclectic assortment for any franchise, blending multi-film characters with background actors, first-timers, and legacy. This was quite the job for the director, especially considering Miller played the Flash for eight years and appears opposite of his mother, who hasn’t officially appeared on screen before. Pair that with Sasha Calle’s debut as Supergirl and Michael Keaton as Batman, a character he played before some of the cast was born. 

No single person in the cast drags the film down; many of their lines are sincerely funny thanks to a fresh approach by writers Christina Hodson and Joby Harold. Muschietti and the team took their Warner Media access and went all in, but there was already so much to manage that a clear and thorough film would have been a miracle. Refocusing on the cast, Miller carries the most by playing two versions of Barry at different ages. I thought this was a smart move because it allowed for a more intelligent, mature version and a brash, immature version to contrast. 

The standout actor for most—and this is a no-brainer—is Keaton, mainly because he doesn’t bother himself too much with lore or universes. He brings the perfect amount of awareness to the character without taking himself too seriously and it was nice after all these years and iterations of Batman, to see a version that’s having fun and discovering awareness of their trauma. 

We all know Bruce’s style of crime-fighting is insane and won’t bring his family back, but we still identify with his struggles and addictions. It’s a nice development for Keaton’s Bruce to aid Barry because Bruce can see Barry going into a familiar, unhealthy cycle. Keaton is tons of fun in this role, when it’s serious and when it isn’t; we even see Batman smile. 

Unfortunately, the standout should have been Sasha, but there’s just not enough screen time or development spent with her. I believe fans WANT the moment for her, and it is a moment, but the film doesn’t allow her to fully deliver. Her scripted lines are often quick, weighty, and forced. I’m glad she has this stage as her feature-film debut and look forward to her future work.

The Flash struggles to gain traction visually as well. There are heavy VFX scenes that work better than the current slate of summer blockbusters, but the majority of the film feels overly reliant on work that should have helped the film stand out from other DCEU entries. One of the main plot points is Barry’s time travel to save his mother, but the visual depiction of this travel is very hit-and-miss. 

The preparation for time travel is good, but the moments when a character can choose their path is subpar. I love the explanation of how the multiverse functions and even prefer it to other versions. There was a real opportunity to create a visual language for all of this and the film’s choice ends up being a distraction instead of support. A heavier emphasis on sand, storms, or just visual speed could have replaced the use of a vortex, cyclone, and coliseum seating.

To close out the film, there is a post-credit scene if you’re curious. It’s quiet and doesn’t change the stakes of anything, but it does contain a cameo.

The Flash earns a weak 3 out of 5. Unless Aquaman and the Lost Kingdom is a huge step up, the DCEU will conclude on a whimper.