A movie filled with endemic superhero problems and two Ezra Millers, The Flash is fraught yet strangely energetic. rockmarooned's review of this off-putting, time-traveling, kinda interesting film:
opens with a put-upon Barry trying to get through his morning commute and interrupted by Justice League duties, establishing him as a Spider-Man figure beset with cartoonish obstacles in the way of his fraught personal life.
The cartooniness cuts both ways throughout the picture: Barry’s super-speed powers make for some funny Looney Tunes slapstick action, reminiscent of the Quicksilver scenes from the latermovies, rendered in sometimes off-putting CG, reminiscent of, well, most big-budget movies from the past few years.
It’s during one of these particularly intense speed-runs that Barry discovers he can actually move fast enough to travel through time. This gets him thinking: What if he could go back and prevent the murder of his mom , for which his innocent and currently imprisoned father was blamed? Bruce Wayne , possibly Barry’s only real friend, warns against this kind of magical tampering, demurring Barry’s offer to do the same for Bruce’s own ill-fated parents.
That multiversal loophole could explain why this Batman moves with suspicious dexterity for such an old man; the movie maintains his lumbering, gadget-heavy fighting style, but also uses a CG stunt double to speed it all up. Affleck’s Batman gets similar treatment in the film’s opening and, for that matter, Miller looks pretty weird in a digital-abs skintight super-suit that often seems to elongate him, like he’s somehow slipped into a wearable fish-eye lens.
These are endemic superhero problems that, with any luck, no one will be nostalgic for in 2033 . Yet whiledirector Andy Muschietti lets bad FX, in-joke cameos and muddled time-travel mechanics sprawl out on the couch and stay awhile longer, within its template the movie does have a peculiar, likable energy.
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