“If we’re going to do this, there’s a lot I’m going to have to explain to you.”
Been waiting on this one for some time, ever since we were introduced to the character in the Justice League movie and it was announced that the film would cover the Flashpoint Paradox storyline, which is one of my favorite comic storylines. My enthusiasm was tempered a bit with the film being delayed and the actor’s subsequent troubles (for the purposes of staying on the topic at hand, that will be my only mention of that situation). However, it is finally here, and after viewing it I can say that it was well done and well received. It is also a bit bittersweet, as it signifies the conclusion of the DCEU as we know it. While I have complete confidence that the future of DC is safe in James Gunn’s hands, it is difficult to say farewell to the only thing that we’ve known since Cavill first donned the suit. Back on topic: in my opinion, while this adaptation does have some slight deviations from the source material, I can confidently say that the film does the source material justice (pun intended).
Speaking of justice, The Flash served as a mini Justice League reunion, as several prominent members of the previous film make cameo appearances. Affleck’s reprisal as Bruce Wayne/Batman is well known given his inclusion in the film’s promotional material. He attempts to act as a voice of reason for Barry, cautioning him about the dangers of time travel. In this respect, Affleck was in top form and fully embodies the mentor role for Barry. He drops some real gems, most notably about the responsibility that comes with gifts and that the cost of their gifts are their tragic pasts. While his role in the film is minimal, Affleck casts a large shadow. The other cameos I won’t spoil, as both took me by surprise, and I want the same for those who intend to see the movie.
Now let’s get into the heart of the story, which is that Barry finds himself at a crossroads. All his life he’s tried to prove his father’s innocence in the murder of his mother. It has been an obsession, and when his latest attempt to prove it fails, he is understandably upset. A visit to the site where his family was torn apart sends him running at speeds he’s never achieved. And then it happens for the first time: he time-travels. And in that moment, he has renewed hope. He can change things. He can do more than just save his dad. He can save his mom, make it so she doesn’t have to die. Who could possibly resist that temptation?
As expected, while his intentions were pure, Barry finds himself a victim of Murphy’s Law, as his efforts have unintended consequences for the world at large as a threat emerges, and due to Barry’s actions, the world defenders are nowhere to be found. Now the Justice League’s resident janitor, as he refers to himself, finds himself standing down a threat unlike any he’s ever seen.
Perhaps I may have understated the film’s deviations from the original source material. Diehard fans of the original storyline will recall that a prominent subplot of the film was the conflict between Amazonians and Atlanteans. This plot does not play a role in the film. I found its omittance acceptable given that there was no time to set up such a plot and that it draws focus away from the central character, i.e. The Flash. Additionally, the situation that they cooked up to replace it made sense and kept things on theme. Essentially, by altering the past, Barry essentially erased Superman, and by doing so, he removed the person who prevented General Zod’s destruction on Earth. As a result, the Earth finds themselves once again facing an unstoppable threat. Everyone’s favorite speedster is gonna need much more than speed if he is going to defeat this threat.
“Tell me something. You can go anywhere you want, right? Any timeline, any universe. Why do you want to stay and fight for this one?”
“Because this is the one where my mom lives.”
This was a pivotal question that framed the entire movie. It is the overarching desire that leads to larger questions: what is someone willing to do to save the life of someone they love? How far is someone willing to go? What are they willing to sacrifice? In this film, we get the answer to those questions in spades. And who better to ask the question than Michael Keaton in an iconic return to a character that he has not played in over thirty years. That’s right, folks; Michael Keaton dons the cowl one more time as Bruce Wayne/Batman. Despite not playing the character in three decades, it is as if no passage of time has occurred, as he slips back into the role like a glove. Batman is known for being the Justice League’s strategist and the brains as well as the money behind the operation. Keaton proves himself the brains early on, as he takes Barry’s explanation of the paradox he created in stride, while also educating the speedster on concepts that he hadn’t considered prior to acting. Keaton’s return was the aspect that most intrigued me about the film. The “how” of achieving was pretty easy to figure as the film had a built-in explanation, i.e. the multiverse, which has always been a key element in this story. I couldn’t help but wonder if the old guy (which is appropriate to say, as he as officially become the oldest person to play the character) still had the chops to play Bruce Wayne, as well as Batman. And the answer is yes on both accounts. He made it look effortless.
I’d be remiss if we didn’t mention Miller, who ended up pulling double duty, playing an alternative version of the character. As far as those portrayals went, I was satisfied. Both roles were well detailed and nuanced, not an easy thing to accomplish. On one side, you have the Barry Allen version, who finds himself thrust into the role of responsibility, which is ironic given that it was his irresponsible actions that led to his situation. Then there is the impulsive Barry, the Barry who can’t seem to take anything seriously and is easily distracted, often acting before the other Barry can even finish his sentences. It was great to see these parallels, and I credit Miller for being able to give such a performance. Well, actually two performances. There is also a newcomer to the fold as well, Sasha Calle, who makes her cinematic debut as Kara Zor-El, a.k.a. Supergirl. Her role is minimal, I would say, but impactful. She definitely makes an impression. I’d welcome more of her, but that seems unlikely given DC’s current plans.
I’ll bet there is one lingering question on your mind, and I’ll bet I can guess what it is. The multiverse — what does it look like? Don’t worry; I’m going to answer this question. I didn’t love it, but I didn’t hate it, either. I just imagined it differently. To my imagination, I saw it as more of a temporal tunnel. To my mind, Barry would be running back in time, and we would see events passing by him. In the film, it was more like he was in a bubble, which was not bad, just different. The most important aspect of the multiverse was the opportunity to get a look at all the other universes, which was invaluable. Not only did we see worlds that we were familiar with, such as seeing Christopher Reeve and Helen Slater back in their suits. We get to view many worlds, most notably one that could have been in the form of an actor who long lobbied for the role but never got the chance to portray it. You’ll know it when you see it.
Video
The Flash is presented in its original rather odd aspect ratio of 1.90:1. The ultra-high-definition image presentation is arrived at with an HEVC codec at an average of 60 mbps. The thing that really stands out in the HDR/Dolby Vision color boost has to be those lightning bolts. They are extremely vivid and rather enjoyable here. The Chrome Sphere is also a huge benefactor of not only the vibrant colors in an otherwise intentionally drab world but also the wonderful tight lines of contrast from dark to bright without bleed. Black levels are strong. Particularly when we’re dealing with Keaton’s Batman, you get nice shadow definition and just the outline of that form is picture-perfect. The flaws come through on some of the f/x. There have been complaints even from the theatrical work, and here in 4K it certainly allows you to see deep enough to see the strings, so to speak. It’s not to the point of complete distraction. I won’t mention them, because here’s the problem. Once you see them, you can’t watch it without seeing them.
Audio
The Dolby Atmos audio presentation defaults to 7.1. This is quite the dynamic and aggressive audio presentation. The surrounds are alive with all manner of chaotic ear candy, but my favorite are the lightning sizzles. Subs resound when needed, and you can feel everything on the same visceral level as much of the action-heavy can bring. Dialog always punches through, and the subs add just that little touch of depth to Keaton’s voice that will take you back a couple of decades or so. The audio does a great job of surrounding you, particularly during the climax where we’re all in that energetic ball of lightning and time.
Special Features
There is no Blu-ray copy, so the extras are on the UHD disc, where I would have rather seen the extra bandwidth go to the film.
Making The Flash – World’s Collide: (36:55) There a ton of behind-the-scenes stuff here to enjoy. We get a load of concept art and witness the construction of the iconic Batcave. Cast and crew provide plenty of insights throughout. We get a look at several specific days in the production and a good look at how they handled the COVID interference. We also get invited to several of the actor film wraps.
Flashpoint – Introducing The DC Multiverse: (6:21) Marvel beat them to it, but we get a nice look at how the film sets up the use of the various versions of characters. Unfortunately, all of this is coming to an end with Gunn’s reboot about to hit us.
Let’s Get Nuts – Batman Returns, Again: (8:31) Let’s face it. Michael Keaton’s return as Batman makes the film, and this is a well-deserved look at that.
The Bat-Chase: (6:50) Go behind the scenes of the designing and building and testing of the Bat Cycle. We also get to see how the chase was choreographed and delivered.
Saving Supergirl: (6:49) A good look at the character and actress and the Siberian base where she is rescued. The scenes there get some nice breakdowns.
Fighting Dark Flask: (7:14) A look at how they got Miller playing all three parts, and a lot of kudos have to go to his stand-in. We get some conceptual designs and how the old Dark Flash was created.
The Flash – The Saga Of The Scarlet Speedster: (38:26) Here we get a nice history of the character going all the way back to Jay Garrick of the 1940’s and all of the heroes to wear the crimson suit in the comics. We get a look at the 90’s television show as well as the one that just finished, and finally into the movie. The character’s importance in DC lore is rather nicely explored here.
Supergirl – The Last Daughter Of Krypton: (16:00) Supergirl gets the same treatment.
Deleted Scenes: (14:13) There are 10, but no individual selection. F/X are at various points of completion with the stand-in actor and rig never being replaced.
The Flash – Escape The Midnight Circus: (1:33:34) This is an audio story featuring The Flash. No video.
Final Thoughts:
The film feels a bit anticlimactic, as it is pretty well known that there won’t be a sequel, which is somewhat disappointing, as this film set the stage for one quite well, and I was looking forward to viewing the rogue’s gallery of villains available for this character. There was a bit of a missed opportunity to establish a villain, one who could have served as his greatest foe, one who Barry would have had trouble outwitting because they would have one key thing in common. Missed opportunity, but probably for the best given the inevitable fate of the franchise. Be sure to stay till the credits end, as one of those aforementioned Justice League cameos takes place then.
Parts of this review were written by Gino Sassani
