Staff Writer Taha Khambaty critically reviews Warner Bros.’s latest movie ‘The Flash’, exploring its surrounding controversies, delays, and the quality of the production.
His name is Barry Allen and he is the fastest man alive, but his movie’s journey to the finish line has been anything but speedy.
With the current hype surrounding the film, the applause at Cinema Con, the positive initial critic responses, Warner Bros.’s insistence on a cinema release, and stars like Tom Cruise praising the film, the story going into The Flash (2023) was “one of the best superhero movies” ever made. However, with “Spider-Man: Across the SpiderVerse” releasing just two weeks earlier that was going to be one tall order. Therefore, the biggest slip the film makes is just being …pretty decent.
The Flash began its journey in 2015 with initial discussions and workshops. It then got announced in 2017 alongside Shazam, The Batman, Wonder Woman 2 and (the now sacrificed) Batgirl. However, it soon faced numerous hurdles, including multiple changes in directors and writers. It wasn’t until 2019 that “IT” director Andy Muschietti and “Birds of Prey” screenwriter Christina Hudson were confirmed for the project. Unfortunately, the COVID-19 pandemic further complicated matters, causing widespread delays in the film industry, including The Flash. Warner Bros. rescheduled the release to November 2022. However, these delays were just the tip of the iceberg for the troubled production.
Amid the film’s production struggles, the controversies surrounding Ezra Miller added another layer of difficulty. In 2020, videos surfaced showing an altercation between Miller and a fan in Iceland. As if that wasn’t enough, in 2022, new allegations emerged against the non-binary actor, including two arrests in Hawaii, attempted burglary in Vermont and accusations of grooming a child since the age of 12. Miller’s scandals cast a shadow over the film, leading to questions about its future and public perception.
Throughout the controversies, Warner Bros. maintained a tight-lipped stance, declining to comment on the ongoing issues surrounding Miller. Meanwhile, the release date of The Flash shifted multiple times, leaving fans and industry insiders wondering about the film’s fate. Finally, in August 2023, Miller released an apology video, expressing gratitude for Warner Bros.’ support and indicating their intention to seek help. This led to the film’s release being set for June 16, 2023.
With the controversies surrounding Miller, the marketing strategy for The Flash took a different approach. The actor was largely absent from any interviews and press, making their first and likely only public appearance on the Red Carpet at the Premier. Before the screening, Miller expressed gratitude to director Andy Muschietti, Zach Snyder, Warner Bros. Discovery boss David Zaslav, Peter Safran, and James Gunn for their “grace and discernment and care.”
But now that the film is in theatres does it manage to actually be as Tom Cruise put it “Everything you want from a movie.”
The film loosely adapts the Flashpoint storyline, with Barry Allen travelling back in time to save his mother. This results in a new timeline where Flash needs to reform the Justice League to fight a familiar threat in the face of Micheal Shanon’s General Zod. At its core, The Flash explores Barry’s love for his mother, which serves as a significant emotional anchor throughout the narrative. The film excels when it focuses on this emotional core, delving into the complexities of Barry’s choices and the consequences they entail.
While The Flash possesses strong emotional beats, its tonal inconsistency poses a significant challenge. The film presents itself primarily as a goofy superhero romp which often leads to its emotional overtones not getting a chance to breathe. It is important to note that this is not a case of humour undermining the film’s seriousness, as in the MCU. Rather, The Flash attempts to blend two distinct approaches and ends up feeling messy as a result. It fumbles running across a very delicate line, and viewers’ enjoyment of the film depends largely on their appreciation of the humour and Miller’s portrayal of the character. This is only remedied in the last 30 minutes where the film decides to actually explore the true consequences of the Flash’s action and delivery a satisfying emotional payoff.
On top of this, the film’s action sequences while fun, lack the creative flair and impact seen in other superhero films. The initial super-speed sequence, where Flash saves babies, feels somewhat lacklustre compared to Quicksilver’s scenes from the X-Men films or even the CW’s The Flash. Yet, it does manage to keep you entertained by actually investing time in showcasing the speedster’s power set beyond just running fast, with the scenes of phasing and electric powers bringing back some much-needed wonder into the film. Yet still, the film’s editing occasionally feels disjointed, with scenes abruptly ending without proper resolution. While these issues do not ruin the overall experience, they prevent the film from reaching its full potential.
This critique can also be levelled at the ensemble cast. Michael Keaton’s portrayal of Batman and Sasha Calle’s performance as Supergirl in The Flash are commendable, but they ultimately lack the standout quality that would make them truly memorable. Particularly, Supergirl’s character suffers from being given limited opportunities to shine, and her actions often feel predictable. This issue extends beyond just Supergirl, as many of the side characters in the film fade into the background, lacking depth and distinctiveness. In comparison to other films (*cough* SpiderVerse) that have successfully explored the multiverse and alternate versions of existing characters, The Flash appears to have taken a very generic way out.
Yet one mistake the film does not make is sidelining its main character. This is undeniably a Flash movie, with Ezra Miller bringing not just one, but two versions of the Scarlet Speedster to life. Miller’s does a great job of making each incarnation feel distinct and memorable while delivering powerful and impactful moments that elevate the overall experience. It’s Miller’s performance that gives the film enough forward momentum to culminate in a satisfying and emotionally charged final act.
Running into a world where audiences are well-versed in the concept of multiverses and alternate timelines, The Flash’s biggest flaw is that it never quite takes a daring detour. With the likes of Keaton’s Batman, the Justice League, and even the surprise villain, so much could have been done to make this film stand out. One just needs to watch the superior DC animated film, “Flashpoint Paradox” (2013), and you’ll grasp the lost potential. Instead, what we get feels like a safe and polished version of the tale, sanded down to fit the familiar mould.
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