de facto film reviews 3 stars

It’s hard to think of another recent blockbuster with a rougher journey to the big-screen than Andy Muschietti’s The Flash. Whether it’s the countless years of development hell, hopping from one director to another, to the off-screen troubles of star Ezra Miller, and most recently, having to open just two weeks after Across the Spider-Verse. Not to mention being positioned as the conclusion of the Snyder-era DC Universe, and the beginning of the new James Gunn-era. For all its many, many troubles and expectations set forth, Muschietti’s film defies most of its baggage, succeeding in telling a character-driven story that just so happens to contain yet another Multiverse.

In an attempt to go back in time to prevent his mother’s death from when he was a child, Barry Allen/The Flash (Ezra Miller) inadvertently creates an alternate universe that, disastrously, sees the return of General Zod (Michael Shannon, laughably underutilized). Unable to fix things alone, Barry is forced to work with a younger version of himself, alongside Zara/Supergirl (Sasha Calle), the cousin to Kal-El, and this timeline’s Bruce Wayne/Batman (the return of Michael Keaton).

For all the bells and whistles surrounding the film, The Flash primarily serves as a personal story about a hero’s sacrifice. Evoking Back to the Future, even blatantly, and wittility, referencing it, Muschietti’s film has that sense of genuine discovery many recent superhero films simply do not achieve. Tonally, Muscietti strikes a firm balance, echoing shades of Sam Raimi and Richard Donner, while maintaining his own energetic spirit. The humor is rarely overbearing and the script, written by Bumblebee and Birds of Prey scribe Christina Hodson, skillfully juggles the many elements in a cohesive manner. What’s remarkable about the film is the emotional clarity, propelling the film beyond its genre trappings. For its position between two different DC universes, you won’t even need to have seen any other DC film to be compelled. The personable direction, brimming with style and care for nuance, allows for both dramatic heft and the expected, big-scale action.

Setting aside any off-screen baggage, Ezra Miller is quite astonishing in a dual performance. Opposite his younger, more immature self is a clever storytelling device to serve as both a reflection and give a proper origin to this character, whose biggest theatrical appearance was in the maligned 2017 Justice League, but given a better showcase in Zack Snyder’s Justice League — as well as fun, brief appearances in both the Peacemaker series and The Flash CW show. Even when the visual effects occasionally rob them of their dignity, the biggest magic trick of the film is Miller, who makes you forget you’re simply watching an actor play opposite themselves. Unlike the recent Shazam! Fury of the Gods, Miller’s performance doesn’t go overboard with comic relief, with a grounded, disciplined portrayal of both Barry’s that showcases two distinct character arcs.

Michael Keaton, admittedly underplaying it at times, still shows why his Batman has such a lasting legacy. When Keaton is in the Batsuit, there’s a sense of gravitas he exudes that is simply undeniable. After 30 years, the beloved actor shows he hasn’t lost his touch when it comes to his portrayal of the Caped Crusader. The grandiose Benjamin Wallfisch score does an impressive job at blending the classic Danny Elfman theme, with new, memorable themes of his own. Sasha Calle has a strong screen presence, but her Supergirl is far too thinly veiled to make a stronger impression. Ben Affleck, whose initial entrance is easily the best action sequence for the character since the memorable Warehouse sequence in Batman v Superman, makes the most of his brief runtime. The always lovely Maribel Verdu is Barry’s mother, who gives the film a near-irresistible sense of heart. Several exchanges between Miller and Verdu are downright moving, highlighting the best of the film’s intentions.

It’s in the final act where the film gets a bit too busy and struggles to maintain focus. While Muschietti’s eye for visuals is imaginative and the visuals effects are often dazzling, complimented by the colorful cinematography by Henry Braham (The Suicide Squad), other effects are downright ugly. The majority of the worst visuals stem from the “Speed Force” sequences, and despite recent comments from the filmmakers stating the intention behind the look in terms of lighting and textures, the cg work still isn’t very flattering. Some of the films biggest surprises are undercut by the poor vfx work, leading to moments that are intended to induce cheers, but instead lead to a whimper. Despite being far from the member-berries easter egg hunt some may be expecting it to be, a few of its fan-service notes are a little cheap, but still register less insulting than several other recent nostalgia-baiting blockbusters. Thankfully, the climax concludes on an emotionally graceful note that overpowers the more clunky spectacle.

The Flash is an emotionally rich and magnetic superhero film. It can be hit-or-miss as a celebration of the greater DC universe, kneecapped by some poor cg effects. However, it succeeds most in telling a heartfelt, witty and grounded hero’s journey complimented by an all-encompassing dual performance from star Ezra Miller.