Over the past ten years, D.C. Studios has released 14 films that make up a cinematic universe. It’s been constantly criticized and compared to Marvel’s more successful model, but the DCEU has had a variety of high points. The first time Batman ever fought Superman in live action, three outstanding performances from Margot Robbie as Harley Quinn, and of course Jason Momoa looking amazingly attractive as Aquaman. With the studio’s newest release, the film is putting this cinematic universe in the past and jumping ahead into a new one.
The Flash is both the end of a chapter, and an attempted beginning in a bold new direction. Ezra Miller (from We Need to Talk About Kevin) excels in their best performance as the speedster Barry Allen. Accustomed to his role in the Justice League, Allen discovers he can travel back in time and decides to do so to attempt to save the life of his mother (played by Maribel Verdú from Y tu mamá también). He does so, but finds himself in another timeline with a younger powerless version of himself (also played by Ezra Miller from the Perks of Being a Wallflower).
The two then discover the world is about to be invaded by General Zod (Michael Shannon returning from Man of Steel), and they realize they need to get the Justice League together. Except most of them don’t exist, they can’t find Clark Kent, and Batman (now played by Michael Keaton from Batman Returns) has retired. Eventually teaming up with Supergirl (played by Sasha Calle from the Young and the Restless), the four do their best to stop Zod and a bigger evil at play.
Despite Miller’s real life controversies (of which there are many), they are at their best here as the Flash. They’ve finally learned how to perfectly mix the awkwardness and eagerness in the character, making for a funny and sometimes poignant performance. They excel both at the more measured older Barry, and the younger excitable Barry. Miller is easily the MVP of the film, and while this performance probably won’t make up for their real life actions it is nonetheless entertaining for those who able and willing to look past their actions. Joined by the triumphant return of Keaton, it is genuinely a thrill to see him back in the Batman suit again. His performance, while at times underwhelming, does bring a lot of excitement to the viewer. He might not be everyone’s favourite Batman, but he is a very entertaining Batman.
Calle’s performance is good, but she’s not given many chances to shine. At times, it feels like the part was written for almost anyone that could fit into a costume similar to Superman’s. Which is not to say that she’s bad in the role, more that the role isn’t good enough for any actor to truly be good in. While having a Latina superhero is fantastic representation, wouldn’t it be better to make a sizeable role? One with a character arc? Perhaps give her her own film? The Flash is also filled with many supporting performances from returning players such as Kiersey Clemons (from Hearts Beat Loud) and Ben Affleck (from Air), both of whom do a decent job.
The film does use a heavy amount of CGI, and not particularly good-looking CGI. Most of that can be explained away with the premise of the film (everything doesn’t have to look accurate in time travel), but where the film falters to a point of failure is in the third act. It’s tough to discuss this without spoiling it, but safe to say many horrendous looking deepfakes are used of former superhero actors (including some who have died and could not consent to this abhorrent practice).
Obviously the multiverse has become the domineering trend of superhero cinema, with a recent trip to the Spider-Verse and many Marvel adventures across the multiverse making big waves. But the Flash squanders any good will it had by leaning so heavily into this aspect with CGI that looks like a video game made in 2004. It’s not so much the visual quality of these special effects cameos (although to be clear, it does not look good at all), but the nature of using these cameos so briskly in that it sets an alarming precedent for Hollywood.
Eventually, the special effects will catch up to reality. And at that point, instead of scouring the world for a new young actor to play Superman wouldn’t it just be easier to recreate Christopher Reeve on a computer? Instead of paying Michael Keaton exorbitant amounts of money to strap into that uncomfortable suit, wouldn’t it just be cheaper to digitally recreate Keaton as he looked in the early ’90s? These are the questions Hollywood executives will be asking themselves, especially with the ongoing writer’s strike. Don’t be surprised if Hollywood starts casting deceased actors in new films. The Flash is doing it.
For most of the film’s runtime, the Flash is a very good superhero film. But just like Barry on a bad day, it slams into a wall for its ending that ruins the film. It’s a sad ending for the DCEU, and a worrying beginning for the new direction the studio is going in. This film gets a 2.5/5, you can watch it in cinemas now (but remember, you don’t have to watch all the schlock Hollywood puts out).
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