![]() Practically speaking, DC finds itself at a bit of a crossroads. did everything backward by leaping directly to “Justice League” before individually establishing characters like the Flash and Aquaman, yet those stand-alone movies have ranked among the brighter spots in the DC universe. More broadly, Muschietti employs various devices to play with depicting the character’s super-speed, from dramatically slowing it down for comic effect (similar to the way the “X-Men” films amusingly presented Quicksilver’s exploits) to speeding it up, freely changing gears along the way. Supergirl, a visually arresting addition who gives the movie an additional burst of energy. Of course, if Barry listened to sage advice there wouldn’t be much foundation for a movie, and besides, the Flash has a history of using his speed in time-bending fashion.Įven when it slows down to let the Barrys bond and bicker, the movie receives a jolt from the way it weaves DC screen lore throughout the project, with Keaton appearing to have an absolute blast in donning the cape and cowl again, enough to make one doubly second-guess last year’s decision to scrap the direct-to-streaming “Batgirl” movie in which he co-starred.ĭirector Andy Muschietti (who presided over the “IT” films for Warner Bros.) and screenwriter Christina Hodson (“Birds of Prey”) also bring back Michael Shannon as the “Man of Steel” villain Zod, and introduce Sasha Calle as Kara-El, a.k.a. “Don’t let your tragedy define you,” Affleck’s world-weary Bruce Wayne tells him. Michael Keaton returns as Batman in "The Flash." From Warner Bros. It’s a pain he shares with Batman, who, in both incarnations, warns him about the perils of trifling with the past and counsels him that losing his parents can’t be extricated from the man he has become. Loss, and how we deal with it, is ultimately at the core of “The Flash,” since the murder of his mother and father’s wrongful conviction played a pivotal role in Barry’s upbringing. ![]() Whatever the actor’s personal issues, Miller turns in a wonderful dual performance as separate versions of the character, deftly oscillating between goofy comedy and the pain and hurt of terrible loss. What functions in some respects as a Flash origin story also melds together not only what Snyder conjured but decades of DC on film, with the no-secret inclusion of Michael Keaton’s Batman, as well as Ben Affleck’s version, once the Flash/Barry Allen races back to alter the timeline, yielding a strange and unfamiliar universe.įinally, there are the distractions associated with star Ezra Miller, whose off-screen legal troubles have been well documented and hung like a cloud over this big-budget enterprise. Moreover, this version of the character has its roots in Zack Snyder’s “Justice League,” which spawned one of the more outspoken and demanding fan contingents in the pop-culture universe. Funny, action-packed and effectively touching, anyone familiar with the DC stable of heroes should run, not walk, to see it.Ĭoming on the heels of the CW series reaching its end, this “Flash” seemed to come with an extra degree of difficulty and at an interesting time, as DC embarks on a new direction under the stewardship of James Gunn and Peter Safran. with striking gold on the first try with “The Flash,” a movie that wears its love for the comics that inspired it on its crimson-streaked sleeve. ![]() Marvel’s various forays into the multiverse have yielded a mixed bag creatively, so credit DC/Warner Bros.
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