A Reel Review: THE FLASH

No superhero film in our timeline has earned more press, good and bad, than THE FLASH. The first solo film for DC Comics’ famed speedster has been in production for nearly a decade, has been surrounded by controversy due to the legal troubles of lead actor Ezra Miller, and to top it off…the early screenings suspiciously had reactions running to call it the new greatest-ever. Enough is enough, and it’s time to put the yellow boots to the road…

 

The Flash/Barry Allen (Miller), despite being a famous hero with the Justice League, is still traumatized over the murder of his mother, which his father (Ron Livingston), is wrongfully sitting in jail for. Barry uses his powers to run back in time and set things right, which causes our reality to split into alternate timelines. 

 

Directed by Andy Muschietti, it is no great spoiler to print that Barry succeeds in his plan to rescue his mom from murder. But his actions cause reality to be wiped clean of superheroes, which leaves he and his younger self (also played by Miller), to seek the help of Batman/Bruce Wayne (Michael Keaton) …just as the Earth is under threat from invaders from Krypton (led by General Zod, reprised by Michael Shannon). 

 

THE FLASH starts with a strong emotional hook, intimate and palpable, and eventually moves into a save-the-world spectacle. The stakes are high on a personal and global level, and for the most part it works. The shift from Barry’s personal stakes to the wider picture is a little abrupt, and the film does a decent job of balancing the two. 

 

Nostalgia has been Hollywood’s new favorite toy in recent years, and THE FLASH leans in hard. The return of Keaton’s Caped Crusader (from his 1989 and 1992 films), injects the film with a tremendous sense of energy and joyous fan-service. Without it THE FLASH may not have been as fun, but it’s hard to poo-poo too much on a film that gives fans exactly what they’ve wanted for decades. THE FLASH is also packed with cameos from past cinematic DC heroes, some of which are rendered through some dodgy CGI. 

 

Speaking of CGI, for a film that cost over $200 million the visual effects are often crap. Rubbery-looking artificial characters (and babies) are cringe and can take us right out of the film. 

 

But all is not lost for THE FLASH. Despite the flaws the film is still a lot of fun. Action sequences are a blast, and the banter between characters, especially between the two Barry’s, range from strong emotional hooks to hilarious…although sometimes a little too goofy. THE FLASH also doesn’t forget what a superhero film should always do: save people at all costs. Pacing is tight and moves fast (it better, for a movie about the fastest man alive), and it packs in a ton in 144 minutes. However, logic is an issue here and there as the rules seem to shift, and Barry’s final solution to save his father from prison at the end contradicts everything he learned. 

 

Acting is superb. Ezra Miller has the task of playing two different characters and nails it. Michael Keaton amazingly recaptures the little ticks and mannerisms of the Bruce Wayne he played 30 years ago. Michael Shannon is excellent although his presence is more of an extended cameo. The show is stolen by Sasha Calle who appears as Supergirl. 

 

The biggest problem with THE FLASH is that the trailers gave away too much; there is a misdirection attempt with Supergirl/Superman that takes up a lot of time which we already knew the answer to. It’s becoming a common problem with studios desperate to cross that coveted $1 billion box office mark, and here it takes away what could have been a great surprise. Still, THE FLASH delivers what it sets out to do. It’s not the new greatest-ever, but it’s certainly not the worst-ever either. Walk, don’t run to see it. 

 

BOTTOM LINE: See it