cjlasky7

I saw The Flash this weekend, because... well, I didn't think it would be around much longer. More than that, though: as The Flash turned out to be the (second-to-) last entry in Zach Snyder's DC universe, I wanted to be a pallbearer at the funeral for his dream. But now that I've seen it, I think the movie's status as an ending is almost tragic; it would have worked beautifully as a beginning.

Some backgound first:

I am a long-time Flash fan. But not this version of the character. The Barry Allen I grew up with was the Gardner Fox/Carmine Infantino comic book version: the slightly dull, 30ish midwest forensic scientist with the wife (Iris) and the house in the suburbs. He'd zip along the gleaming spires of Infantino's Central City, battle Captain Cold or Weather Wizard, and be home in time for dinner. (A little late, of course.)

In a way, the Silver Age Flash (along with Fox's version of Green Lantern) was the foundation of the modern DC comics universe. It was set in a Kennedy era cityscape with adventures based on 1950s science fiction. This setting recontextualized DC's original "trinity"--Superman, Batman and Wonder Woman--in the first modern superteam: The Justice League of America.

As the movie starts, Flash is still a founding member of the League, but he's not my Barry Allen, by a long shot. He's younger, shy, awkward, neurotic and he can never seem to finish his work at the lab. This Barry has been consumed by the tragedy that destroyed his family, and even his life as a superhero doesn't give him satisfaction. He complains that Batman and the rest of the League use him for mop up work and Bats (Ben Affleck, one final time) doesn't really bother to reassure him.

I'm still not completely sold on this version of Barry, but screenwriter Christina Hodson (Bumblebee, Birds of Prey) and director Andy Muschietti (It) somehow make it work. They adjust to the off kilter nature of the character and pitch this opening segment as a superhero comedy, capped by the surreal, slo-mo, gravity-defying ballet of Flash rescuing a gaggle of newborn babies as they fall from a hospital window.

(It's a shame we couldn't spend more time with this version of the League. I think people would have liked them more if they had more everyday interactions. Does Bruce see Barry as an irritating younger brother? Does Diana feel a little sad for him and somewhat protective? The best scene in Age of Ultron was the Avengers hanging loose at a party. The Snyderverse could have used more of that.)

Anyway, Barry accidentally discovers the magical superpower of time travel, and he decides to quick fix his life. Prevent his Mom's murder! Save his Dad from spending a life in prison for a crime he didn't commit! Bruce tries to talk him out of it, but Barry is determined. It's ok, he thinks. I'll be CAREFUL. What could go wrong?

As it turns out? A lot! He saves Mom, but winds up in an alternate timeline where there are no metahumans--and General Zod is coming to town. Almost as bad: he's saddled with this timeline's version of himself, who bounces around him like a hyperactive puppy.

But this is where Hodson's screenplay shows unexpected strength: rather than get lost in Flashpoint shenanigans, the Barry double act deepens the character as the movie barrels on to Doomsday. Our Barry sees all the personality quirks that drive people crazy in his alternate self; and, to a certain degree, he bitterly resents his twin for living an entire childhood with both their parents' love. Ezra Miller, all other considerations put aside, plays both ends of the double act very, very well. The screenplay gives our Barry a complete character arc and he (I'm so sorry) runs with it.

As for those aforementioned Flashpoint shenanigans... well, they kinda suck. I know you don't have the budget for the full fledged Amazons vs. Atlanteans plotline from the comics, but Zod really doesn't measure up, despite all of Michael Shannon's industrial strength glowering. Sasha Calle does the best she can with this version of Supergirl, but the part is criminally underwritten. (I can't help but think that a Supergirl v. Wonder Woman brawl would have kicked all kinds of ass. Ah well.)

Michael Keaton is incredible, as always, but I wish he'd played THOMAS Wayne, just like in the comics. The note from Thomas that Barry brought back to Bruce was easily the best moment in both the comic and the animated movie. I really miss it here. Besides, the presence of Keaton's Batman tends to overshadow our protagonist, as if the DC braintrust didn't trust The Flash to carry a Flash movie. (It's worth noting that the big, multiversal finale shows you three versions of Superman, but other, easily available versions of The Flash--like Grant Gustin and John Wesley Shipp--are absent. Hmmmm.)

Nevertheless, despite the third act let down and some muddy (very muddy) SFX, a worthy effort and a fine beginning to the series. It would have been nice to see this Barry face one of the Flash's rogues gallery; it would have been fun to see him awkwardly court Iris West; it would have been interesting to see if his newfound maturity would change his status in the Justice League...

But no. After that twist ending, Barry is stranded on his own little island of the multiverse, probably never to be seen again.

The James Gunn Era awaits....