DC is keen on rebooting its superhero universe, and by all means, The Flash is a decent step in that direction, notes Mayur Sanap.
When Barry Allen/The Flash (Ezra Miller) realises that he can travel back in time to save his mother from dying, he goes up to his mentor figure Bruce Wayne/Batman (Ben Affleck) to ask for his advice if it’s really a right thing to do. The latter knocks back and warns Barry of the dangerous repercussions of his ‘wildly irresponsible’ idea.
Overwhelmed by emotions, Barry does it nonetheless, thus opening the doors of the multiverse for not just his story, but also for the DC Extended Universe (DCEU), which kicked off with great promise in 2013 with Man of Steel.
In times when the multiverse feels like an excuse to bring in more superhero crossovers and cameos, in The Flash, it feels like a genuine plot development for the character’s arc and this narrative device moves organically along the way.
This welcoming approach sets the film apart from a barrage of mulitversal films that we witnessed in recent times.
A direct sequel to Justice League (2017), this film is essentially the coming-of-age story for our hero, who wields the power of lighting fast superhuman speed.
As the multiverse opens, it takes the character to some unique places, both literally and figuratively, and he is exposed to some tough questions and dilemmas, giving us a fresh take on a superhero origin story.
‘It’s the scars that we have make us who we are,’ says Affleck’s Wayne to Allen in the earlier scene, which perfectly captures the emotional weight of this film.
Joining the league of James Wan (Aquaman) and David F Sandberg (Shazam!) as directors of horror films helming DC superhero flicks, Andy Muschietti of It fame balances the action and emotions with great panache.
He infuses some light-hearted humour and crowd-pleasing moments into this gloomy world but never underplays the film’s emotional stakes.
After a bumpy ride all along with DCEU, we finally get a superhero spectacle that makes us laugh and, in some cases, go weepy.
The Flash is not without a few downsides though, as they drag the film considerably when it ushers in the final act.
The overlapping of characters, the painfully obvious green-screen effects and the generic good-men-gotta-save-the-world conundrum make the climax far less exciting than intended.
There’s also a subplot involving Barry’s old flame Iris West (Kiersey Clemons), which fizzles out by the time the film arrives back to it in the end.
What works majorly in favour of the film is how effective Ezra Miller is in his portrayal of the Speedster.
Keeping his contentious off-screen persona aside, he is really a perfect Flash.
He is usually goofy and quirky and lends out ample of heart and charm. But during the vital poignant moments, he pulls them off deftly to tug at your heartstrings.
In this standalone feature, Miller really comes into his own.
Michael Keaton dons the bat-suit in his return to the much-loved classic version of the character and he makes a memorable impact as decrepit Batman.
Sasha Calle’s Supergirl is under-utilised but she shines in a cursory role.
The affinity of these characters toward each other forms the emotional force of this film.
It’s very enjoyable to see other DC characters making fun cameos, and mind you, there are quite a few surprises like that.
As clearly visible from the efforts here, DC is once again keen on rebooting its superhero universe, and by all means, The Flash is a decent step in that direction. Hope they maintain the tempo.
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