From start to finish, it suffers the double misfortune of being its own worst enemy, despite real thoughtfulness and an intriguingly unstable cocktail of genres (slapstick comedy, family drama, heavy metal action flick, philosophically driven science fiction adventure) and also arriving on screens right after the release of "Spider-Man: Across the Spiderverse," a high watermark for both superhero movies and major studio animated features that explores most of the same concepts as "The Flash" in a more aesthetically innovative way.Įzra Miller, whose offscreen brushes with the law make some of the film's raunchier comedy land poorly, stars as twentysomething forensic scientist and secret superhero Barry Allen, who feels like the "janitor" of the Justice League and is still grappling with the impact of his mother's murder and his father's wrongful imprisonment for the crime. Then it hits the reset button and starts again-which, come to think of it, is what "The Flash" keeps doing over and over again narratively, with time, parallel universes, and the question of whether "canonical" events in the life of a person or a whole dimension can be altered. Like its sincere but often hapless hero, it keeps exceeding every expectation we might have for its competence only to instantly face-plant into the nearest wall. It features some of the best digital FX work I've seen and some of the worst.
One of the most spectacular and frustrating mixed bags of the superhero blockbuster era, "The Flash" is simultaneously thoughtful and clueless, challenging and pandering.
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