Multiverses are all the rage these days.
And why not? They’re fun for writers, filmmakers, and fans alike, as you get to play with time, change characters’ story arcs, and in the world of superhero movies, get to see your favorite characters from different eras interact with each other on screen. Or as is the case with THE FLASH (2023), get to see a superhero from a bygone era back on the big screen again.
As such, THE FLASH has some fun with the multiverse, and as a result is a decently entertaining movie, for the most part. But it’s not a homerun. Why not? Well, part of it is admittedly I am experiencing something of superhero movie fatigue. I love superhero movies, don’t get me wrong, but there are so many of them out there, and they keep on coming. So, the bar has been raised, and it’s easier now more than ever to experience the “been there, done that” syndrome.
Also, while THE FLASH is playful with its multiverse, it doesn’t go as far as it could. A movie like SPIDER-MAN: NO WAY HOME (2021), for example, took things much further, bringing back multiple characters from past movies from different series and putting them all together where they interacted and made for some amazingly entertaining scenes. THE FLASH simply doesn’t take this route, and as such, isn’t quite as entertaining or as satisfying as SPIDER-MAN: NO WAY HOME.
THE FLASH opens with Alfred (Jeremy Irons) calling Barry Allen aka The Flash (Ezra Miller), alerting him that there’s a crisis at a hospital, and his services as the Flash are needed. Barry accepts the job but is insulted when he learns that he was called because the rest of the Justice League- Batman, Wonder Woman, and Aquaman, are all busy doing other things. The Flash then has to rescue an entire room’s worth of infant babies all falling from a crumpling skyscraper of a hospital, in a sequence that is supposed to be a rousing kick-off to the movie but fell flat for me. It goes on too long, and I couldn’t get out of my head a better sequence from many years ago in one of THE NAKED GUN movies where Leslie Nielsen’s Frank Drebin has to rescue multiple babies while in the midst of a shoot-out on a staircase, a sequence that spoofed a famous scene in Brian De Palma’s THE UNTOUCHABLES (1987).
Later, we find Barry upset that he can’t prove the innocence of his father who is in prison for the murder of his mother, a crime Barry knows his father did not commit. When he realizes he can travel backwards so fast that he can go back in time, he decides to do so in order to prevent his mother being murdered in the first place. He ignores the warning of his friend Bruce Wayne/Batman (Ben Affleck) who tells him making any changes to the timeline could have very dangerous consequences. But Barry is too driven to save his mother to listen to reason.
He travels back in time, prevents his mother from being murdered, and meets his 18-year-old self in the process, but before he can go back to his own time, he accidentally transfers his powers to his younger self. Before he can figure out how to get his powers back to get back to his own time, General Zod (Michael Shannon) invades Earth, and when Superman doesn’t show up to defeat him, Barry realizes he’s not in the same universe as the one he left. He seeks out the one man who he believes can help, Batman, but when he gets to Wayne Manor, he meets an entirely different Batman (Michael Keaton).
Yes, Michael Keaton is back as the Batman from the 1980s-90s Tim Burton films, and this plot point and this casting is pretty much the centerpiece of THE FLASH. Keaton’s presence was certainly my favorite part of the entire movie. And he’s great once again on the big screen, playing a much older Batman here, a man who had quit being a superhero and had retreated into the confines of Wayne Manor as a recluse, but he sees helping Barry as his chance to make a difference again.
And he does. First, he helps Barry get his powers back, and then he helps the two Flashes search for Superman in order to take on Zod. In this universe, they don’t find Superman, but they do find Supergirl (Sasha Callie), and the battle lines are drawn. Barry also realizes that he can’t save his mother after all, because the changes he made caused so much upheaval, and lastly, he has to get back to his real time and real universe.
There’s a lot going on here, but honestly, none of it is all that mind-boggling.
There is one sequence where Barry experiences all the multiverses converging and crumbling, and the potential is there for some mind-blowing stuff and creative turns, but the film only scratches upon the surface. We see some familiar faces from DC adventures of old, but they are quick and fleeting.
The best story in THE FLASH is the one that features Michael Keaton as Batman. Keaton is the best part of the movie. However, even this story arc is limited, because it’s not really the best story for Keaton’s Batman. It’s pretty much him realizing that while he’s making a difference, his glory days are over, and he’s outdated. I would have much preferred him being a kick-ass older superhero who in spite of his age was going to continue kicking ass for years to come. That’s not how this story arc here plays out. Even so, Keaton is still by far the most fun part of THE FLASH.
Ezra Miller is fine as both Barrys and both Flashes, and he’s at his best when he’s showing his serious side. I have to admit that I’m not a big fan of the silly side of the Flash’s personality. He hasn’t won me over as a character yet, neither here nor in his previous appearances in the earlier DC films BATMAN V SUPERMAN: DAWN OF JUSTICE (2016) and JUSTICE LEAGUE (2017).
The rest of the cast is meh. Sasha Calle is okay as Supergirl, but she doesn’t get to do much other than fight in CGI battles. Heavyweights like Jeremy Irons as Alfred and Ben Affleck as Batman are only in a few brief scenes, and Michael Shannon as General Zod is also reduced to simply fighting in CGI battles.
Director Andy Muschietti lets a lot of these scenes go on for too long, and none of the sequences really generate that much excitement. THE FLASH is long, clocking in at two hours and twenty four minutes, and honestly it felt long. Muschietti is not known for his brevity, as he directed the two IT movies, the second, IT: CHAPTER TWO (2019) ran for two hours and forty nine minutes.
Christina Hodson and Joby Harold wrote the screenplay, which for the most part is playful and fun, but it’s simply not as playful and fun as it could have been. Hodson wrote the screenplay for the DC flick BIRDS OF PREY (2020) which I enjoyed well enough, and Harold wrote the screenplay for Guy Ritchie’s KING ARTHUR: LEGEND OF THE SWORD (2017) and the zombie movie ARMY OF THE DEAD (2021), two other movies that I liked well enough. Their work here on THE FLASH is comparable to the aforementioned movies.
I enjoyed THE FLASH, but I didn’t love it. Ezra Miller is fine as The Flash, although I’m still not a big fan of the character, and for my money, Miller was overshadowed here by the presence of Michael Keaton as Batman, which for me, is the real story behind THE FLASH. I found myself wishing I wasn’t watching a movie about the Flash but one all about the return of Keaton’s Batman. Now, that would have been a movie for the ages.
But that’s not what this movie is, and THE FLASH is not one for the ages. It is yet another superhero movie having fun playing with multiverses, and as such, it’s entertaining enough, but it’s also not anything overly special or anything we haven’t seen before.
The best part was hearing Michael Keaton say “I’m Batman” one more time.
That was sweet.
The rest less so.
As a result, I give THE FLASH two and a half stars.
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RATING SYSTEM
Four stars – Perfect, Top of the line
Three and a half stars- Excellent
Three stars – Very Good
Two and a half stars – Good
Two Stars – Fair
One and a half stars – Pretty Weak
One star- Poor
Zero stars – Awful