![]() The opening briefly reestablishes Barry Allen (Ezra Miller) as a part-time Justice League member and full-time forensics lab analyst on a personal journey to clear the name of his father, Henry (Ron Livingston), who’s been convicted of murdering Barry’s mother, Nora (Maribel Verdú). While it lacks the clarity or resonance of, say, Spider-Man: Across the Spider-Verse, Christina Hodson’s script keeps the story squarely focused on its protagonist’s emotional journey and treats the finer points of its metaphysical world-building as flavor, an excuse to do some extremely comic book things. This is even more astonishing given that it has one of the most convoluted plots in a recent stretch of superhero films that are absolutely lousy with multiversal exposition. To its credit, the movie’s two-and-a-half-hour run time moves at an impressive clip. ![]() Given all this, the worst thing a movie called The Flash could do is feel slow. The result is messy and strange: It’s a bright, breezy film that is overwhelmed by corporate hagiography, a pat on the back for a bunch of movies that never really worked out. In 2023, The Flash now serves as one of the final films in the Snyderverse, a eulogy for the Zack Snyder era of DC - but also, surprisingly, for all DC’s page-to-screen adaptations. Originally planned for a 2016 release, according to a 2013 DC movie plan that ultimately proved too ambitious, The Flash arrives a full decade later from a chastened DC that’s getting ready to restart its cinematic universe with James Gunn in charge. For a movie about a guy who can move incomprehensibly fast, The Flash sure did arrive late.
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