It's just what happens when too many executives and the billionaire responsible for the "90 Day Fiancé Universe" get their mitts into what could have been something so much more simple and emotionally affecting.Įven setting aside how hollow the cameos are, how superfluous their inclusion feels and how outright disgusting the visuals degrade to by the climax, the film's final ending is borderline insulting. But it isn't in a cool, intentional way designed to mirror Barry's own confusion and fear of having shattered the universe to save his mother's life. Unfortunately, from the moment Keaton arrives on the big screen, once the initial nostalgia pop from Danny Elfman's theme wears off, "The Flash" feels like a fever dream. Most notably, this means giving Ben Affleck's Batman a proper send-off, while showcasing the return of Michael Keaton to the cowl for the first time since 1992.
Borrowing from Geoff Johns and Andy Kubert's work on "Flashpoint," a Flash-centric tale that was used to rewrite DC history for the publisher's New 52 initiative back in 2011, Muschietti and Hodson have swapped out a lot of the players and key narrative departures to suit clearing the DCEU slate. The film paints Barry as a quirky problem solver with difficulty accepting the past, so he is motivated to change it, no matter the cost. Drawing from the modern iteration of the character from the source material, the basic dramatic beats of the story ring quite true. Barry is still haunted by his mother's murder and driven to clear his father's name for that heinous crime. But the playful spectacle is still tethered to some affecting drama. Hell, we even get a show-stopping set piece where our hero saves people.
Muschietti does a powerful job of making his Speed Force powers feel tangible, bending the film itself around his jet propulsion.
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