The Flash: A visually glitchy, emotionally uneven multiverse mess

There’s a moment in The Flash (2023) where Barry Allen (Ezra Miller), clad in his iconic red suit, blurs past the Gotham City skyline, the cityscape distorting around him like a glitching video game. The camera struggles to keep up, the frame warping and pixelating as if caught in a digital storm. It’s a fitting metaphor for the film itself—a frenetic, visually inconsistent spectacle that oscillates between emotional depth and chaotic excess.

Directed by Andy Muschietti (It, It Chapter Two), The Flash is the 13th installment in the DC Extended Universe (DCEU), a franchise that has seen its share of missteps and triumphs. Based on the DC Comics character Barry Allen, the film is a multiverse-hopping adventure that blends time travel, parallel universes, and superheroics. Miller reprises his role from previous DCEU films, joined by an ensemble cast including Michael Keaton (Batman 1989), Sasha Calle (making her film debut as Supergirl), and Michael Shannon (as General Zod).

The premise is simple: Barry travels back in time to prevent his mother’s death, altering the timeline and creating a world without superheroes. What follows is a high-stakes race against reality itself, as Barry must confront the consequences of his actions and restore the universe he knows. The film’s exploration of time travel and its ripple effects is reminiscent of Back to the Future and Looper, but with a superhero twist.

One of the film’s standout elements is its humor. Miller brings a manic energy to Barry Allen, delivering lines with a mix of earnestness and absurdity that lands more often than not. His dynamic with Keaton’s Batman—digitally de-aged to reprise his role from Tim Burton‘s 1989 classic—is a highlight, filled with witty banter and nostalgic charm. The chemistry between Miller and Keaton is palpable, their exchanges infused with a playful camaraderie that adds levity to the film’s darker themes.

The action sequences are where The Flash truly shines. Muschietti employs rapid cuts and disorienting camera angles to convey Barry’s super speed, creating a visceral sense of movement that immerses the audience in the chaos. The fight scenes, particularly those involving General Zod, are thrilling and visually striking. Michael Shannon’s portrayal of Zod is a standout, his physical presence and commanding voice adding gravitas to the villain.

However, the film is not without its flaws. The CGI, while impressive in some respects, frequently falters. Backgrounds and effects often look unfinished, pulling the viewer out of the moment. This is particularly noticeable in the film’s third act, where the visual effects become overwhelmingly conspicuous. The pacing is another issue. At 140 minutes, The Flash feels bloated, with too many characters vying for screen time. Sasha Calle’s Supergirl and Antje Traue’s Faora-Ul are underutilized, their potential squandered in favor of more screen time for Barry and his immediate circle.

The film’s exploration of consequences and heroism is compelling, but the execution is uneven. The multiverse concept, a hot commodity in superhero films, here feels rushed, as if Muschietti couldn’t decide whether to honor the comics’ Flashpoint storyline or forge his own path. The emotional core—the love between Barry and his mother—is the film’s strongest suit, elevated by Maribel Verdú‘s warm and nuanced performance.

In terms of themes, The Flash delves into the consequences of altering the past and the weight of heroism. Barry’s journey is one of self-discovery and redemption, as he grapples with the fallout of his actions. The film also touches on the idea of sacrifice, exploring what it means to be a hero in a world where every decision has ripple effects.

Comparatively, The Flash stands out for its humor and emotional depth but falls short in terms of visual consistency and pacing. It’s a film that will appeal primarily to die-hard DC fans and those with a penchant for time-travel narratives. Casual viewers may find the plot convoluted and the runtime exhausting.

Muschietti’s direction is a mixed bag. He excels at creating high-energy action sequences but struggles with the film’s more introspective moments. The pacing issues are exacerbated by the film’s tendency to linger on certain scenes while rushing through others, resulting in an uneven narrative flow.

The performances are another highlight. Ezra Miller delivers a standout performance as Barry Allen, capturing the character’s innocence and vulnerability alongside his heroic prowess. Michael Keaton’s return as Batman is a nostalgic treat, his portrayal of the Caped Crusader imbued with a sense of gravitas and wisdom. Sasha Calle holds her own as Supergirl, though her character arc feels truncated.

The film’s score, composed by Benjamin Wallfisch, is another standout element. The music swells and ebbs in time with the action, heightening the film’s emotional beats and intensifying its thrills.

In terms of originality, The Flash treads familiar ground but adds its own spin on the multiverse trope. The film’s exploration of time travel and its consequences is engaging, though it occasionally feels derivative.

As a genre fit, The Flash excels in delivering a superhero adventure that balances action, humor, and emotion. It’s a film that will satisfy fans of the genre but may leave others wanting more.

In conclusion, The Flash (2023) is a visually inconsistent yet emotionally resonant superhero blockbuster that tries to do too much, resulting in a product that is both ambitious and flawed.