The Flash comes to screens after a long and winding road, possible directors, writers, storylines have all been touted before Andy Muschietti took the helm of the film that sees Ezra Miller trying to change the past and causing mayhem in the present.
The film starts in worrying fashion with an action sequence in which Batman chases an armoured truck while Barry Allen’s The Flash has to save a hospital from collapsing. In doing so he has to run really fast to save a bunch of babies, a dog and a nurse. The CGI is horrific. The babies all look like they were rendered by mid-90s Pixar. The baby from Tin Toy back with some friends for a cheesy action sequence.
This gives way to a film that can never fully decide if it’s CGI is going to be good – blending two Ezra Millers into a shot – or awful: literally anything in the speed force. The film is completely all over the place, wanting to be a meditation of destiny and acceptance, but also full of fun cameos, pandering to both Snyder-fans and Snyder-haters, resetting the franchise Gunn’s take-over and a stealth Batman film.
Muschietti, who gave us the brilliant It and it’s okay second part, appears to be lost here. The ropey graphics aside, he can’t decide what film he’s making so he sets everything in barren wastelands or spacious caverns. The film really works when it focusses on the two Barry Allen’s, Keaton’s Batman and Sasha Calle’s Supergirl – all of whom are very engaging and work to tell a story as best they can in the rushed time. It does mean that the supporting cast: Ron Livingston, Kiersey Clemons, Michael Shannon and most unforgivably Maribel Verdú are all wasted.
The storyline of Barry coming to accept that certain things are written in stone and that his mother’s death is one of them is a very engaging story, made all the more moving by Verdú’s sensitive, if fleeting, performance. But, as the third act kicks in, and CGI falls in on itself, and computer enhanced cameos resurrect the dead, the film loses it’s sense of purpose.
It’s not without moments of brilliance, some of the jokes are very funny, and Keaton remains a thoroughly watchable actor, even if his Bruce Wayne can’t quite commit to one type of role. There is a confidence in the action that Muschietti lets himself indulge in, especially when it comes to a needle drop smack down. If it’s going to reset the timeline it only muddies the water further, with a ridiculous final scene that has no reason for existing, and a storyline that doesn’t warrant the import with which it treats itself.
Verdict
Just as the film builds towards an interesting emotional crescendo its gone in a flash.
