Electrifying! From beginning to end, The Flash is a highly entertaining, funny, well-written thrill ride with a tremendous amount of heart! In an oversaturated superhero/CBM (comic book movie) live-action cinema landscape, dominated by MCU (and MCU-adjacent) movies, comes a breath of fresh air that works both visually and narratively.
Worlds collide when the Flash uses his superpowers to travel back in time to change the events of the past. However, when his attempt to save his family inadvertently alters the future, he becomes trapped in a reality in which General Zod has returned, threatening annihilation. With no other superheroes to turn to, the Flash looks to coax a very different Batman out of retirement and rescue an imprisoned Kryptonian — albeit not the one he’s looking for.
Andy Muschietti delivers a superb superhero motion picture that defies expectations set for anything the DCEU had to offer audiences. Christina Hodson’s fantastic screenwriting paired with John Francis Daley, Jonathan Goldstein, and Joby Harold’s story, provides a solid foundation upon which Muschiette crafts the motion picture for the screen. Nearly everything about this picture works incredibly well, except the CGI battle sequence at the end that felt right out of an early 2010s video game. In addition to the compelling visual storytelling, Muschietti and Hodson successfully, and organically) pay homage to Tim Burton, Zach Snyder, and even Richard Donner. Never before has a superhero multiverse been explored so well! Where other multiverse movies struggle narratively, this one excels in both form and function. And of course, the movie features THE definitive Batman Michael Keaton in a triumphant return to the screen as the Burton-verse caped crusader! While many other films in recent times have placed far less emphasis on plotting than visual composition, The Flash delivers on both.
Just when the general public and critics alike were genuinely wondering if there was anything left in the DCEU, The Flash is the strongest cinematic story to come out of this universe of characters since Wonder Woman, and perhaps the most fun superhero movie since Batman Returns. I know, positively using The Flash in the same statement as Batman Returns is high praise, as it’s my opinion that Batman Returns is the best comic book (or superhero) movie of all time. While The Flash isn’t as campy as the Batman 1960s TV series or the Schumacher movies, it strikes a balance between camp and melodrama in the same vein as Batman Returns struck a brilliant balance between camp and gothic romance. Wherein character expression may lean into camp. The Flash delivers heartfelt thoughtfulness in character interpersonal dynamics and plot. We empathize with Barry Allen’s obsessive plight to save the life of both his mother and father.
Simple plot, complex characters. That is precisely what you get in this movie. I know, what must he be thinking equating a multiverse setup with simple plot. That’s because the plot can be boiled down to when Barry Allen realizes that he has the ability to travel back in time, he returns to stop the death of his mother, but in doing so, unleashes a cataclysm of effects throughout the space-time continuum that must be corrected. There is one plot: save the life of his mother and father, whom is on trial for the death of his mother. Everything that Barry/The Flash does revolves around the central plot of stopping the death of his mother which will keep his father from being accused of her murder. No matter where we go in the multiverse, the external goal motivated by the internal need never changes.
The complexities in the narrative are character-driven. Barry Allen (Sr.) is hyper-focused on stopping the murder of his mother, no matter the cost, Bruce Wayne/Batman is wrestling with his identity as the caped crusader in a world that doesn’t need him anymore (or so it seems), and Barry Allen (Jr.) is struggling to find his place in the world as he is caught between childhood and adulthood. And the central plot connects all these characters and forces them to grow emotionally and psychologically. Apart from the central plot, none of the character growth would occur. Never once does the focus of the story shift, but the central themes of identity, overcoming trauma, and the dangers of obsession with control allow the movie to explore deeper meanings in the otherwise high concept story.
The central cast is fantastic! Never having seen The Flash TV show, I cannot comment on that expression of Barry Allen/The Flash, but Ezra Miller delivers a compelling performance of the lightning-fast superhero struggling with anxiety. We haven’t has a superhero that feels this genuinely human and vulnerable since Tim Burton’s Bruce Wayne/Batman played by Keaton. While they express their humanity differently, both play their respective everyman identities and super-alter egos with equal charisma and authenticity that is maintains its own identity depending on if they are wearing their respective masks. The idea of and meaning of the masque is something that entire books have been written on, but for the sake of argument, the masque represents a different identity and should be expressed differently unless, for dramatic purposes, the character’s humanity peaks through the superhero masque.
Miller’s portrayal of Allen/Flash is one that is unapologetically relatable and without pretense. Furthermore, I appreciate the inclusion of an individual struggling with anxiety, social awkwardness, and comes from average beginnings with no superhuman characteristics other than the ones bestowed through the electrical/chemical accident.
Many articles and podcasts have been published on Michael Keaton’s Batman, so I won’t spend too much time on him; however, we cannot talk The Flash without acknowledging the impact of the definitive Batman and Bruce Wayne returning to the big screen in a big way! At very first sights of Keaton, the Batcave, and the iconic Burton Batmobile, there were waves of applause and cheering from the audience, but nothing compares to the sheer deluge of cheering, shouting, and applauding for Michael Keaton when he appears in his Batman uniform for the first time since 1992. If this was a live performance in front of a studio audience, then all action would have stopped on stage for several minutes as the audience showed their affection for Keaton’s Batman. Even though he is not the central character, he factors heavily into the second and third acts of the movie. And you know what? He’s still got it!
Where the film simultaneously delivers and falters is in the integration of heavy CGI. The CGI works very well in the various effects of The Flash’s super speed and when exploring the multiverse; where the CGI is conspicuously unrealistic is in the final battle scenes. This is where and why the Tim Burton Batman movies will forever be timeless, but prolific use of CGI will date a film. You cannot replace the way real light bounces off real objects into the camera lens. There is a sense of real danger when practical effects, stunts, and pyro is used–it’s REAL–the danger is real. There is a dimension to practical sets and effects that CGI will never be able to replicate. Simply stating, the CGI in the battle sequences at the end takes the audience out of the film. However, the film doesn’t cheapen out on anything at Wayne Manor, the Batcave, Batmobile, or Batplane.
The score for The Flash is excellent, especially when Danny Elfman’s iconic Batman theme is integrated into the original score for this film. While I could have gone for the film to lean a little more heavily into the Elfman Batman theme, I appreciate the nuance of the theme when anything Burton-verse is on the screen. Outside of the Elfman Batman theme, the orchestration feels like an extension of each scene that never becomes the center of attention, but is always present.
About the cameos. Yes, there are some great cameos, but I am not going to disclose them as you need to experience them for yourself. What I will divulge on that subject is the conspicuous absence of Michelle Pfeiffer’s definitive Catwoman. Even though she’s stated in interviews that she hasn’t been asked to reprise her career-defining role, even thought she admittedly would love to wield the whip again, I thought that perhaps is was all a ruse and she would surprise us in this movie. But with the unparalleled positive response from audiences concerning Keaton’s return to the Batsuit, then perhaps we will get the incomparable Michelle Pfeiffer as Catwoman one last time.
Thrilling and fun for the whole family, I highly recommend watching The Flash. It was certainly the most fun I’ve had at the cinema all year.
Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.
R.L. Terry ReelView 