After years of development hell, delays and recent controversy regarding its star, The Flash is finally released. Considering the various versions of the Scarlet Speedster have existed over the decades from the comics, he most popular of which being Barry Allen who was created back in 1956, there have been numerous attempts of trying to bring the Flash to the big screen. While The Flash has thrived in numerous television shows from animation to live-action, Ezra Miller first played Barry Allen during a cameo in Batman v Superman, before eventually being the comic relief in both versions of Justice League.
The years of developing The Flash went through various directors before it was announced that the comic book Flashpoint – originally conceived to change the status quo of the DC Universe in the comics – would be the basis of the movie. Given that the much-maligned DC Extended Universe has had numerous attempts of course correcting itself, the Flash movie we now have, directed by Andy Muschietti, seems like the final nail in the coffin for a superhero shared universe that has been around for ten years.
As well as being a member of the Justice League, Barry juggles his superhero persona with his job at the Central City crime lab, while hoping to find evidence that will free his father (Ron Livingston), who was framed for the murder of Barry’s mother (Maribel Verdú). Realizing that his Superspeed can make him travel back in time, Barry uses his abilities to prevent his mother’s death. However, his actions traps him in an alternate reality without metahumans, causing him to seek the help of his younger self, an older Batman (Michael Keaton) and the Kryptonian castaway Supergirl (Sasha Calle) to save this world from the restored General Zod (Michael Shannon) and return to his universe.
Although we had nine seasons of television with CW’s The Flash, which put its own spin on the Flashpoint storyline, this latest instalment of the DCEU has an identity of its own that can feel like “The Flash and his Amazing Friends” as the film showcases a variety of other superpowers involved, not just the Superspeed of the titular hero. Sure, there are a number of familiar faces from the DCEU, including Ben Affleck who gives one last hurrah as Batman during the opening action sequence, but the film is ultimately a Flash story.
Given that the tragedy that has defined Barry Allen and what has motivated him to becoming both a forensic scientist and a superhero, the character isn’t drowned in the dark baggage. Known for directing horror such as the It movies, Muschietti playfully balances the tone from a light-hearted time travel adventure to an alien invasion climax that actually fixes the problematic finale from 2013’s Man of Steel. As funny and crowd-pleasing as the various set-pieces are, Muschietti bites off more than he can chew when it comes to the CG department where the quality can be inconsistent, including an early sequence featuring the rescuing of babies.
Now, we arrive at the touchy subject of the film’s star, Ezra Miller, whose off-shoot behavior has been much publicized and depending on one’s thoughts when it comes to separating the art from the artist. Based on their work here as an artist, Miller delivers not one, but two excellent performances that somewhat address the divisive reaction towards Miller’s comic relief from previous instalments. Both the old and young versions of Barry Allen are a fun double act on the basis that they can’t get along initially and finding their friendship through an adventure that ultimately comes their origin story. Although Allen’s actions are the catalyst that sets up the main conflict, the film does give in during the third act to present a physical manifestation of Barry being his own worst enemy, which felt unnecessary.
With so much of The Flash’s promotion is directed towards Michael Keaton’s return as the Caped Crusader, you can argue that this is partially a Batman movie, which the director just embraces, in a way that isn’t dark or gritty. While Keaton has a lot of fun playing an aging version of the character he played thirty years ago, so much of his presence builds on fan service, even using segments of Danny Elfman’s iconic theme during the Tim Burton films. No doubt that it attempts to outdo what Spider-Man: No Way Home did when it came to lingering nostalgia, but for many people, Keaton was their Batman and will be enough for them.
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