The concept of “multiverse” introduces a limitless range of creative possibilities. It equips authors with the freedom to explore their ideas beyond the scope of typical reality, providing them with endless opportunities for creative experimentation. However, If you’re one of the people who are getting tired of the multiverse being overused as a concept, The Flash (2023) might be the movie to drive you over the edge.
As DC embarks on a new path under James Gunn and Peter Safran that will eliminate the current DCEU, The Flash (2023) has to undertake the additional challenge of dealing with this extra layer of complexity: . its version of the character has its origins in Zack Snyder’s Justice League. And we are all aware of how this has one of the more passionate fan groups in popular culture- hereby adding the pressure of retaining the fan base.
Directed by Andy Muschietti and written by Christina Hodson, The Flash (2023) is a film that attempts to strike a balance between humor, action, and emotional depth. It has its moments of brilliance, but unforunately it falls short of being a standout in the DC universe. The film seems to be a testament to the love for the comics that inspired it, but it struggles to fully capture the spirit of its source material.
Barry Allen often finds himself cleaning up after the messes of his Justice League teammates while the other heroes handle the bad guys.
More importantly, he’s trying to get his dad Henry (Ron Livingston) out of prison for the murder of his mother, Nora (Maribel Verdú). One night when Barry realizes he can run fast enough to actually go back in time, he decides to go back in time and stop his mom’s death. This creates an entirely different world where most of the familiar heroes are gone, and the threat of General Zod (Michael Shannon) is looming in the background.
Ezra Miller’s dual performance as two different versions of Barry Allen/The Flash is definitely one of the film’s strengths. Despite their off-screen legal troubles, Miller delivers a performance that is both captivating and nuanced. They deftly oscillate between goofy comedy and the pain of terrible loss, embodying the character’s multifaceted personality. Their portrayal of Barry Allen is one of a man grappling with his past, his identity, and his extraordinary abilities. However, the character’s development arc feels somewhat rushed and incomplete, preventing the audience from fully connecting with Barry’s emotional journey.
The second, younger Barry has more of a complete arc, and in a way, this is his origin story. He’s the goofier, more upbeat Barry, so when he experiences loss and grief and slowly turns toward a darker path, the change has a meaningful impact and adds another dimension to the film’s third act.
The film’s plot, centered around the tragedy of Barry’s past, attempts to provide an emotional depth that resonates with the audience. However, the execution of this narrative arc feels somewhat forced and lacks the emotional punch that it aims for.
The film explores how Barry’s tragedy has shaped him, how it has defined his path, and how he struggles to reconcile with it. But the build-up, gradual development and execution into these overarching themes, while poignant, are not explored with the depth and nuance they deserve.
The third act is significantly darker and more tragic than the first two-thirds of the movie, yet it’s still a mere lukewarm adaptation of the much more grim and gorier animated adaptation, Justice League: The Flashpoint Paradox.
The Flash (2023) incorporates elements from decades of DC on film, including the inclusion of Michael Keaton’s Batman and Ben Affleck’s version of the character.
While Keaton’s return is a nostalgic thrill, it feels more like a gimmick than a meaningful addition to the plot.
His performance, while enjoyable, does not add anything constructive to the narrative and feels more like fan service than a necessary addition to the story. Affleck’s Batman, on the other hand, feels rather underutilized; his character is introduced as a mentor figure to Barry, but this interpersonal relationship is not explored in depth quite enough, making his presence in the film somewhat underwhelming.
The introduction of Sasha Calle as Kara-Zor-El, a.k.a. Supergirl is a visually arresting addition. Calle’s performance is dynamic and compelling, adding a new dimension to the DC universe. However, her character is not given enough development to fully resonate with the audience.
She is introduced and then somewhat sidelined, making her presence in the film feel more like a buildup for future films than a meaningful contribution to the current narrative.
The return of Michael Shannon as the Man of Steel villain Zod, on the bright side, definitely adds a layer of complexity to the film. Shannon’s performance is as menacing as ever, and his character’s inclusion in the plot adds a sense of urgency and danger to the narrative. However, here too, the downside is his character’s role in the plot feels more like an afterthought than a meaningful contribution to the narrative. His inclusion seems to be more about bringing back a familiar face than about serving the story.
Director Andy Muschietti and screenwriter Christina Hodson have crafted a film that plays with the depiction of The Flash’s super-speed in innovative ways. However, these otherwise visually stunning sequences often feel overdone and detract from the film’s narrative focus. The film seems more interested in showcasing its visual effects than in telling a compelling story. This focus on style over substance is one of the film’s major shortcomings. The film’s time-travel CGI, particularly the “chrono-bowl”, is a point of contention.
The visual effects in these sequences are less than convincing, detracting from the overall visual experience of the film. The “chrono-bowl”, a visual device used to depict Barry’s time-travel, has been criticized for its PlayStation 2-esque rendering of scenes and characters from Barry’s past. While some may argue that this could be a stylistic choice to depict the insubstantial nature of alternate timelines and universes, it nonetheless depreciates the overall visual experience of the film.
The film’s pacing is another issue. At times, the film feels rushed, with major plot developments happening too quickly for the audience to emotionally connect with the protagonists’ feelings. At other times, the film stretches out redundant scenes. This uneven pacing disrupts the flow of the film and replaces the audience’s enthusiasm with frustration.
The film’s dialogue is also a mixed bag.
While there are moments of witty banter and poignant exchanges, there are also instances of clunky dialogue and forced humor. This inconsistency in the quality of the dialogue detracts from the overall quality of the film.
In terms of its place in the DC universe, The Flash (2023) seems torn between its desire to pay homage to the past and its ambition to forge a new path for the DC universe. It struggles to find a balance between attempts to pay respect to DC’s past while pointing the way to its future. And, this struggle is evident in the film’s narrative, which often feels disjointed and lacking in focus.
In conclusion, The Flash (2023) is a film that has its strengths but is weighed down by its flaws. It attempts to deliver a captivating narrative, compelling performances, and stunning visual effects. However, it is hampered by a barrage of underdeveloped characters, a lackluster plot, and less-than-convincing visual effects. While it has its moments of brilliance, it falls short of being a standout in the DC universe. It’s a film that any DC fan might want to see, but should approach with measured expectations.
Although The Flash (2023) is one of the better DCEU films, it’s also one of the last films taking place in this universe, making it a bittersweet send-off for most of the characters appearing in it. Unfortunately, the movie hasn’t done well in theaters, and it’s set to lose as much as $200 million by the end of its theater run. Ezra Miller probably isn’t returning as the Flash, which was already a far cry due to his numerous controversies. At least director Andy Muschietti has been picked to direct the new DCU Batman film, The Batman: the Brave and the Bold. That means we will see another Batman on the big screen, the fourth live-action Batman to appear on screen in just the last two years- fifth if you count the cheeky cameo at the end of The Flash (2023).