There had been many concerns surrounding DCEU’s The Flash and whether or not it would ever finally be released. From re-writes, to character changes, damaging off-set situations and an entire brand changing hands and being headed by a new creative team wanting to completely wipe the slate clean. The long awaited return of Michael Keaton as the Caped Crusader (a whole 31 years after he last wore the cape and cowl) was perhaps the biggest draw of The Flash, not only for me, but for those fans who were eager to see Keaton step back into the shoes of the Batman.
Under the tough watch of mentor Bruce Wayne (Ben Affleck), Barry Allen/The Flash (Ezra Miller) is still learning his responsibilities as a reliable superhero. But still haunted by past family trauma, Barry wishes to use his powers to travel back in time and right the wrongs that have become his future. Being able to run really fast could certainly have its benefits, but Barry’s scope goes much further than just being able to get to work on time. When Barry runs beyond the speed of light it causes a rift in time and forces him to fall into a world that’s not his own.
Now facing his mother Nora (Maribel Verdu) – who was murdered some years ago in the DCEU’s timeline – father Henry (Ron Livingston), and even another (slightly younger) version of himself, Barry must confront the only Justice League member publicly known in this universe, Bruce Wayne/Batman, to reverse the damage. Only this isn’t the Bruce that Barry is closely associated with.
There is a big heart hidden in The Flash’s story, but it yields to something that is far too clumsy and chaotic. Andy Muschietti’s The Flash hinges on the help of Keaton’s Batman and Sasha Calle’s Supergirl – who is otherwise a positive trade for the missing Henry Cavill – a little too much, that it causes The Flash (or multiple in this scenario) to take a step out of the limelight. Rotting in the roots of nostalgia, Keaton and the return of General Zod – a bored looking Michael Shannon who reprises his role – can’t even help The Flash land on its own feet.
If having to cope with one Ezra Miller isn’t enough, a second (and much more enthusiastic) one will be enough to tip the scales of exhaustive entertainment. Putting their behind-the-scenes behaviour aside, Ezra never seemed the right fit for the role for me. Portraying Barry with this zany and awkward manner and a sense of hyperverbal humour that never hit its mark, Miller is at their most maddening here and his character arc never truly recovers as a result.
The Flash is like the DCEU’s No Way Home, only everybody with the exception of Ezra – who will ultimately have a lot riding on the movie’s success – home is a place it seems most involved would rather be. Of the actors who did actually turn up, some just give phoned in performances, and those who were never there in physical form have to succumb to the schlocky and distracting CGI that is simply unacceptable for a big title such as this. Especially one that has had plenty of time to iron out its creases due to multiple rescheduling releases.
Muschietti’s muddled and mishandled Flash movie is a tonally unbalanced misfire that is perfectly relative with the general direction of the DCEU to this date. The Flash finally rounds off with one final surprise that is so unabashedly awful (if not a little funny) that it just feels like the prefect f-you to close out a cinematic universe that has been so underwhelming and uncoordinated.
Critical Clay 