WORLDS COLLIDE
The DCEU has certainly had its fair share of problems along its planned trajectory. As Marvel Cinematic Universe (MCU) continues to provide moviegoers everywhere with its extensive cinematic library of Marvel character superhero adventures, the DCEU is trying to play catch up with its own realm of costumed heroes and superhuman beings. The studio, which falls under the movie studio control of Warner Bros. Pictures, has had a difficult time in producing a successful formula in trying to convey DC Comics of superheroes into cinematic endeavor for moviegoers to enjoy. This is apparently known in the spilt decisions of 2016’s Batman v Superman: Dawn of Justice, the problematic efforts in 2016’s Suicide Squad, and the disappointing presentation of 2017’s Justice League, with most finding these projects (in general terms) not meet to the standards of what was promised. This is even further expanded upon other endeavors such as 2020’s Birds of Prey and Wonder Woman 1984 and 2022’s Black Adam, which faced very differences of opinions from reviews and moviegoers alike, as well as the DCEU shake-up, with future projects being pushed back, shuffled around, and even shelving them completely (the now unreleased Batgirl film). That being said, the DCEU is starting to find its groove, especially after the release of 2017’s Wonder Woman, 2018’s Aquaman, and 2019’s Shazam!; finding those feature films to have their own swagger and appeal that works in both film storytelling and entertainment purpose for audiences. Now, after the mixed results from 2023’s Shazam! Fury of the Gods, the DCEU begins its final chapter saga of what began back in 2013’s Man of Steel with the highly anticipated film release for The Flash. With so much hype and build up for this particular project, does this movie honor its past as it moves forward into a new cinematic universe or is it haphazard and nonsensical alternative reality jaunt that is undercooked from onset to conclusion?
THE STORY
In the superhero world, Barry Allen (Ezra Miller) is the true super speedster known as The Flash, but he’s growing wary of the part he plays within the Justice League, always falling behind the likes of his mentor Bruce Wayne / Batman (Ben Affleck). When he’s not on superhero duty, Barry is feverously work on a way to find the right amount of proof / evidence to his father, Henry Allan (Ron Livingston), out of prison, with his dad being accused of killing his spouse, Nora (Maribel Verdu) under suspicious circumstances. Overwhelmed and frustrated with the inability to help exonerate his dad, Barry pushes his powers to their limits, eventually reaching a place where he can traverse and manipulate time itself. Electing to go back and time and find out what really happened that one night to his parents, Barry changes certain events that led to that disaster, which messes up his present-day timeline, soon confronted with his 18-year-old self in the process. Unable to fix things on their own, the two Barrys’ are forced to work together, understanding that the once deceased Kryptonian General Zod (Michael Shannon) is alive and has returned to Earth to terraform it. While seeking aid from alternative Bruce Wayne / Batman (Michael Keaton), the Barrys’ plan to defeat Zod as they search for an imprisoned Kryptonian named Kara (Sasha Calle). However, as worlds collide and multiverse aspects appear and crumble, Barry learns of the severity of changing the past and how that will affect a new reality for him in his future.
THE GOOD / THE BAD
Borrowing my opening paragraph (and this one as well) from my review of Black Adam…. It’s very easy to point out that the differences between the MCU and DCEU have been. It’s basically night and day type of experience, with one studio finding its rhythm (albeit formulaic in some regards) yet proving to be effective, while the other struggles to find its stride. Yes, I’ll admit that I did like Man of Steel (probably one of the select few who did) as well as Wonder Woman (love actress Gal Gadot as Diana Prince) and Aquaman (the sheer epic scope of the feature is amazing), but the DCEU has been problematic with their other release (i.e. Batman v Superman: Dawn of Justice, Suicide Squad, Wonder Woman 1984, and Justice League). Those features, while promising with plenty of superhero nuances and inherit hype from its pre-release marketing, didn’t exactly match up to what many (including myself) expected, which is reflected upon the feedback from moviegoers and the “behind the scenes” shake up of the franchise, leaving the continuation of the DCEU in a somewhat ambiguous limbo state, which is in contrast to the how the MCU is presenting its feature films. Yet, some of their recent endeavors have barked a bit up fruit than others, including the much more favorable representation of the Suicide Squad in the 2021 film as well as the vastly superior director’s cut of Justice League in 2021’s Zack Snyder’s Justice League. That being said, the previous two films (2022’s Black Adam and 2023’s Shazam! Fury of the Gods) shows the inconsistency that these endeavors are producing as well as lacking that special “spark” of superhero passion formula that Marvel has cultivated over the years. That’s not to say that all Marvel’s releases are cinematic gold (i.e. Ant-Man: Quantumania and Thor: Love and Thunder), but it’s clear of what the overall arcing narrative story for majority of them follow within their own shared universe of heroes, gods, and monsters. In the end, it’s kind of hard to tell what direction Warner Bros Studios is charting for their DC Comics film adaptations, especially with the company being merger is Discovery as well as 2021’s Suicide Squad James Gunn (and Peter Safran) taking over the reins for creating a new cinematic universe. Let’s hope for the best!
Naturally, this brings me back around to talking about The Flash, a 2023 superhero blockbuster feature, the 13th installment in the DCEU (14th if one includes Zack Snyder’s Justice League), and the final entry within the established DCEU continuity. Given his larger introduction in the Justice League (regardless of what version you watched), the character of Barry Allan / The Flash was indeed an intriguing character as it was almost a forgone conclusion that he would (eventually) get his own solo movie, which was announced sometime after the Justice League was released. Of course, this particular idea was tossed around for years, with the project getting delayed several times due to director changes, the COVID-19 pandemic, setbacks during post-production, and the real-life controversy surrounding Miller’s exploits. It would eventually find a final release date in June of 2023, with the movie being revamped as the final installment in the established DCEU franchise. Perhaps the more interesting aspect was the film was to be a bridge to the new DC Comics superhero film universe (dubbed the DCU) as The Flash would be a reset of some type. Thus, with that notion, one could imagine the implications that the narrative of what Barry Allen does to shake up a whole cinematic universe. That particular aspect definitely interested me to see the movie. Of course, there were a few snippets here and there that caught my attention; tiny tidbits of news from the upcoming film, especially with director changes and cast member announcements. Naturally, the movie’s trailers began to appear online and in theaters, which promised a time-traveling adventure (the project was promoted to draw inspirations from the “Flash Point” comic book story arc) as well as several cameo-like appearances from DC’s past, including actor Michael Keaton returning to play Batman. So, this movie looked to be quite promising, yet I still had some reservations about the film, especially after the recent endeavors of the DCEU feeling underwhelming and dated. Thus, I decided to check out the movie during its opening weekend, but, due to my work schedule as well as trying to complete a few other movie reviews that I needed to get done, I had to push back my review for The Flash for quite some time. Now, with some free time, I’m finally ready to share my personal thoughts about what I thought of this superhero blockbuster. And what did I think of it? Well, it was just good…and that’s not a bad thing. Despite having some oddly pace segments and fragmented narrative third act, The Flash does manage to make the most of this particular “last outing” in the DCEU, thanks to its time travel journey and several key performances that make the film rise above mediocrity. It’s not quite the best (nor brightest) of this cinematic superhero universe, but it makes amends for the clunkily handed Shazam! Fury of the Gods and the bland offering from Black Adam. Again, that’s good thing.
The Flash is directed by Andy Muschetti, whose previous directorial works includes such films as IT, IT: Chapter Two, and Mama. Given his familiarity of directing more horror-esque film projects, Muschetti does seem like a bit of an odd choice to helm a prominent superhero blockbuster, especially one that has been brought a lot of attention to it with both anticipation and scrutiny. For his part, I actually felt that Muschetti did a pretty decent job with The Flash, and I do have to give credit where credit is due. The director approaches the source material of the iconic “Flashpoint” story arc and molds it into a way that both speaks to comic book fans out there as well as moviegoers who have followed the DCEU since 2008’s Man of Steel. I personally would say that it’s not the most revolutionized thing to produce from the superhero genre as well as from the director, but, nevertheless, Muschetti certainly knows his target audience and walks a fine line between fan service and blockbuster nuances.
Of course, the movie has plenty of things that many would consider “customary” for the superhero film genre, which (as I said) feels right at home in this day and age of superhero blockbuster features. This extends (but not limited to) the overall bigness of the feature, with sprawling narrative that spans several different timelines and time traveling shenanigans, which gives off The Flash height and grandeur from the get-go. There’s plenty to see and do in and out of the movie’s plotline, with Muschetti displaying his superhero antics and frivolities in The Flash and gives the feature enough action and comic book prose to make it comparative to today’s cinematic platform. There is also plenty of superhero drama, with the feature showcasing the emotional scenes that seem to ripped right out of a comic book, which do translate well when presented on-screen. Overall, I felt that the movie (problematic as it may be in several key areas) still manages to make for a more well-rounded and better superhero entry in the DCEU franchise, with Muschetti doing a better job at the project than some directors in other installments in this cinematic universe.
Naturally, Muschetti focuses on the character drama of the feature as the movie’s centerpiece, with character Barry Allan caught up in a conflict that he created and the ramifications that he must deal with in order to save the known universe from total annihilation. It’s a classic time travel scenario that has plenty of familiar beats and tones that are displayed throughout the movie, with Muschetti giving this scenario the necessary platform to spring off of and play around with in the superhero DCEU sandbox. The result, while wonky at times, can be both amusing to see how certain threads are interwoven as well as presented in a way that harkens back to the source material and to the film’s main crux in its narration. Some moments are fun and humorous, while other resonate with sadness and realization. It’s definitely something to behold and gives the feature the proper “oomph” in the right direction as Muschetti charts a course of familiar territory as well as a few surprises along the way.
In addition, Muschetti does give the movie a somewhat “sendoff” from the DCEU, with the feature having that climatic feeling of one cinematic universe coming to an end, with something new on the horizon. It’s a sort of “bittersweet” feeling that, while not entirely realized in the film’s presentation, does give a semi “finality” towards the DCEU, which is a sentimental touch in my opinion. This also comes in the form of several Easter Eggs and cameos that appear throughout the picture that both harkens back to other DCEU installments, and other DC film / TV projects, but also to the comic book roots of this superhero series. While some might argue that the studio is doing this for the sake of “cashing in” on nostalgia references, it was still a nice touch (though problematic in a few areas) that give a more grandiose feeling towards the project. All in all, while there are problems that the film faces within its overall shaping and execution (more on that below), Muschetti makes a bold choice to differentiate The Flash from most of the previous installment that basically “dances to the beat of its own drum” as it closes out this cinematic universe with some familiar, yet celebratorily fanfare towards both new and old.
For its presentation, The Flash carries the same type of weight and visual bravado one would expect from a superhero installment from DCEU. I personally don’t think that the film “pushes the boundaries” of what is to be considered the “industry standard” of today’s big tentpole endeavors from a major studio, but it certainly enough pull for a large-scale comic book blockbuster to make for some background visual fun. Of course, the various set and locations play at part of the time travel shenanigans that come into play the feature, with a variety of familiar (and unfamiliar) places that play host to the main story, which (to the film’s credit) does a good job in those placements. Thus, the movie’s “behind the scenes” team, including Paul D. Austerberry (production design), Dominic Capon (set decorations), Alexandra Byrne and Bob Ringwood (costume design), and the entire art direction team for their efforts in bringing The Flash’s overall “look and feel” look pleasant to the eye and (again) meets what many would expect from a modern superhero project. Also, the film’s cinematography work by Henry Braham is impressive in a few key areas, which certainly helps elevate (and heightened) some of the more cinematic moments through the usage of filmmaking camera techniques. I do have to admit that the sound design for this movie is quite good, which explodes in a lot of the action sequences as well as some of the more dramatic / poignant moments throughout the movie. Is it enough to be nominated for “Best Sound Editing / Mixing” category? Well, maybe…. because I think it deserves that and as well as some of mixing that is performed quite well. Lastly, the film’s score, which was composed by Benjamin Wallfisch, is pretty good and definitely has a quite the musical composition in and out of the movie. Of course, a lot of scenes carry plenty of weight to them for some blockbuster grandiose feel, but also shares a bit of Danny Elfman flourishes here and there, which is fitting during the moments when Keaton’s Batman is on screen.
Unfortunately, The Flash does have scrutiny and criticism towards its overall shaping and execution, with several problematic areas along the way, which certainly does hinder the project, despite the inherit hype and anticipation for this blockbuster project. How so? Well, the movie itself is a bit choppy at times, with the main narrative faltering in how it wants to convey the story being told in the feature. This is perhaps due to the film’s script, which was penned by Christina Hodson, John Francis Daley, Jonathan Goldstein, and Joby Harold, that has the classic “too many cooks in the kitchen” mantra and it does feel like while watching the movie. The combination of these writers in the shaping of The Flash is a bit problematic, with the group struggling to find a proper balance within its own narrative structure. For the most part, the main plot is (as mentioned) familiar and entertaining to see it unfolded throughout the feature, but a lot of the material surrounding feels rather clunky and half-baked. Certain scenarios and scenes feel a bit out of place and awkwardly presented as such, while some other nuances and subject matter can be seeing as rushed and / or gratuitous. Personally, the actual flow of the movie is another crucial part of the feature’s criticisms as everything feels either fragmented and / or choppy as if material was reduced down or cut from the final version of the movie to keep the runtime down. Thus, the inconsistency of the script weight the movie down and creates pacing issues and rough storyline progression.
Perhaps the celebration of this “nostalgia” for the DC franchise gets a bit carried away, with the script trying to incorporate a lot of those moments that, while amusing and fun, can be a bit distracting at times, especially when certain of those said “moments” don’t exactly pan out correctly or given enough time to give a proper conclusion. Another problem with the script (as well as the direction from Muschetti) is that the comedy aspect of the feature is bit too much at times. Yes, many can understand that the character of Barry Allan (as well as the portrayal of the character from Ezra Miller) is more of the fast talker with a quirky sense of humor / mindset, but that doesn’t give the excuse to turn the movie many into a comedy show, which can be a bit off-putting at times. I do give credit that the movie does get more “serious” as the narrative progresses forward, but…. I don’t know…. the first act (and parts of the second act) feels very awkward and just too much comedy angle.
One big crucial area of which the movie falters is in the movie’s third act. While it was quite enticing and has all the necessary “big, bang, boom” for a grand finale, the structure of how things come about gets a bit wonky at times, including the introduction of new secondary villain, seems rather clunky on how everything gets put together. The staging and execution of it all comes at the expense of a tightly woven third act, which certainly does make for a climatic setting, yet something about it feels quite off kilter and doesn’t resonate as strongly as it should be. Perhaps the writing for this portion of movie could’ve been better handled in the storyboarding process or even the overall direction of such scene could’ve been executed.
Another criticism that I had towards the movie was the visual effects were a bit of a mixed bag. While CGI technology has always been utilized to help sell / convey some of the more visually elaborate and fantastical imagery in modern day superhero romps, they are moments where such depictions can’t get quite messy….if done the correct way. This is the case with The Flash, with the feature heavily using visual effects to help showcase some of the more extravagant superhero sequences throughout. While some shots are good (and are the industry standard for today’s film), there are huge chunks of the feature where CGI looks rather shoddy and dated. Muschetti has already come to the movie’s defense by citing that the so-called “bad CGI” was intentionally, but I don’t believe that was the case and merely was an excuse for it. One can’t simply “cover up” such details….so quickly after the film’s release. The fact of the matter is that the visual effect of CGI rendering is a bit of mixed bag, with some shots that look rather unconvincing and ends up a distraction, especially during some of the more pivotal moments in the feature.
The cast in The Flash is somewhat of the “saving grace” of those criticisms, with most (if not all) up to the task of making this superhero installment a mixture of comedic humor and gravitas heart within the context. Leading the charge in the film is actor Ezra Miller, who returns to play the DC comic book superhero Barry Allan / The Flash as the main protagonist for this project. Known for his roles in Trainwreck, The Perks of Being a Wallflower, and Fantastic Beasts and Where to Find Them, Miller has (over the past five or six years) been in the spotlight of some prominent movies / franchises, which includes the DCEU with 2017’s Justice League and Zack Snyder’s Justice League to be more precise. Although, those two movies were a way to introduce the character of Barry into this cinematic universe, this particular movie gets the character to shine as the main protagonist and, for his part, I think that Miller does a good job. He certainly has the capability of being a lead character and knows how make his screen presence known, which (in hindsight) is a good thing. Barry’s character arc is certainly one that is compelling and acts as the “beating heart” of the feature, with Miller cultivating a very convincing and appeal portrayal of the character. There is definitely the classic “hero’s journey” arc feeling throughout the movie, with Barry undergoing the causality of time traveling that the problems that come with it, learning from his mistakes that he created and how he tries to fix them. Again, I felt that Miller did a good job in making the character of Barry more confident in himself and becoming a more maturer Flash persona than before.
Plus, as mentioned above, the movie allows Miller to play two different iterations of Barry Allan, playing both his current self as well as his teenage self, which does certainly act a bit more “annoying” at times. So, it’s kind of like “double Miller” at times can be a bit off-putting, especially in the beginning, but, as the movie progresses forward, both character certainly do grow and mature a bit, with that “annoying” aspect becoming problematic in the latter half. Naturally, this brings us back to the whole “real life” events that surround Miller’s personal life that were made aware months prior to the release of The Flash. Of course, these accusations are quite serious and, while I won’t go into details and further examinations about them, I definitely felt that it was definitely in the “back of my mind” while watching this movie, despite Miller’s performance in the movie. In the end, Miller does pull off the leading character role in the feature and gives a lot more depth and characteristic insight into his portrayal of Barry Allan and does make for a convincing (and more mature) character in his own superhero solo outing.
Before I go into talking about the other main players in the movie, there are a few supporting characters that circle around Barry Allan in the movie and have some interaction with him throughout. Perhaps the most “emotional” one is found within the character of Nora Allan, Barry’s mother, and who is played by actress Maribel Verdu (Pan’s Labyrinth and And Your Mother Too). Well, just isn’t heavily feature in the movie as probably intended, the character of Nora plays an instrumental part of the main plot and its interesting to see how it plays out (as mentioned above). Her tenderness towards Barry works as a love seeing through a mother / son relationship and both Miller and Verdu have some emotional beats, especially one at the end, that damn nearly breaks your heart to watch. Also, as a sidenote, young actor Ian Loh (Princess Power and Black Spot) does a pretty good job as the younger version of Barry.
Behind her, Ron Livingston (Band of Brothers and Office Space) does a good job in playing the part of Henry Allan, Barry’s father who is in prison for the suppose death of Nora. Livingston does replace actor Billy Crudup from Justice League (both versions) where the character of Henry was first introduced alongside Miller’s Barry. For his part, I think that Livingston did a pretty good job in the role and portrays Henry as a broken man, who can’t see the hope in the end of the tunnel. However, his scenes are limited, due to the nature of the story, but it is still good to see
Lastly, the movie introduces the character of Iris West, Barry’s love interest, and who is played by actress Kiersey Clemons (Lady and the Tramp and Dope). While Clemon’s Iris did first appear in Zack Snyder’s Justice League, that movie is to be considered to be alternative cut of the Justice League film and not the “cannon” version, which makes her inclusion in The Flash as her first “official” appearance in the DCEU. For her part, Clemons is perfectly fine as Iris, who is young and energetic, which would be a perfect match for Miller’s Barry. The problem is that she mostly bookends the feature and is merely there as an “introduction” to her and doesn’t really play a part in the grand narrative scheme in the film. Thus, one can easily remove her from The Flash and there wouldn’t be a problem. I know that she was there merely for “setting up” her character, but it just comes off as superfluous.
Of course, perhaps the biggest draw that the movie has to offer is seeing actor Michael Keaton return to playing the character of Bruce Wayne / Batman from this new alternative universe that Barry created. Known for his roles in Batman, Spotlight, and The Founder, Keaton has certainly made a career throughout his lifetime, playing notable characters in various capacities. For the superhero genre, he played the first “cinematic” live action iteration of the character of Bruce Wayne and certainly has been the debated amongst moviegoers and fans of Batman on if Keaton’s performance is to be considered to be the “definitive” best portrayal of the “Cape Crusader”. Of course, regardless of that notion, Keaton presence on this project has certainly got a lot of attention from his fans, who were quite eager to see the actor return to play the character after so many years. And, to his credit, Keaton does a fantastic job in reprising Bruce Wayne / Batman once again and never looses touch of the character nuances that made his portrayal infamous as well as bringing something a bit new to the table as an older Bruce that’s a bit more cynical and realization, which juxtaposes the more youthful and naïve of Miller’s Barry Allan. All in all, while I probably would’ve liked to see him in the movie a bit more, there is no denying that the appearance of Keaton’s Batman in The Flash was indeed a welcomed one that honored his film with his inclusion in this movie.
For the newcomer for The Flash (and for the DCEU) is the introduction of Kara Zor-El (aka Supergirl), a powerful Kryptonian who possesses powers, abilities, and costume attire similar to her cousin, Kal-El / Clark Kent (aka Superman), and who is played by actress Sasha Calle (The Young and the Restless and Young Blood). Although a relatively unknown actress, Calle seems quite the capable acting talent and surely makes her presence known in the movie, having fun playing such a character like Kara. Perhaps the only problem that the character faces in the movie is she comes in more than halfway through the movie’s runtime and doesn’t have much of conclusion to the story (again, this is a problem in the third act). Still, for better or worse, I felt that Calle was great as Kara and I do hope that we (as the viewers) will get to see more of her character in the new reshaped cinematic universe of DC.
Of course, the film’s antagonist is fun returning of an old familiar character, with actor Michael Shannon (Boardwalk Empire and The Shape of Water) reprising his Man of Steel role of General Zod, a Kryptonian General who comes to Earth looking for the last Krypton and the codex therein. To be fair, there isn’t much new context given to the character of Zod in the movie as he’s pretty much the same cold and calculating Kryptonian villain that we all remember from the 2013 film. It’s just a different roster of heroes that he squares off against when he comes to Earth. However, looking beyond that, the reappearance of Zod is still indeed a welcome one and Shannon, who had Synder’s blessing to return to the project, hasn’t lost a step in playing the titular baddie, for he’s still as menacing as when he faced off against Cavill’s Superman many years ago. It was definitely a fun treat to see such a fleshed out bad guy return from the DCEU, especially since this movie (kind of sort) ends that same universe. Likewise, it was great to see actress Antje Traue (Woman in Gold and Criminal) also return to play her Man of Steel role as Faora-UI, General Zod’s second-in-command.
In addition, the movie also features several other characters from the DCEU, including actor Ben Affleck (Gone Girl and The Town) as Bruce Wayne / Batman, actress Gal Gadot (Red Notice and Death on the Nile) as Diana Prince / Wonder Woman, and actor Jeremy Irons (The Lion King and The Man in the Iron Mask) as Alfred Pennyworth. While these characters are delegated to, more or less, small supporting roles in the movie, the acting talents involved are still good in their limited capacity. It’s just a little bit of shame that they are merely large cameo spots in the movie…..and that’s it.
Lastly, the movie does have a post-credit Easter Egg scene at the very end of the closing credits sequences, which teases fans of one superhero character that made it through Barry’s time traveling shenanigans and will presumably be in the new DCU narrative. Who he or she is? Well, I won’t spoil it, but the scene itself is a bit of a humorous zinger and not much in the way of foreboding as to what is to come.
FINAL THOUGHTS
Worlds collide as Barry Allen changes the events of his past and ends up creating a new future of heroes and villains, which he must put a right stop to an unimaginable multiverse collapse in The Flash. Director Andy Muschetti latest film takes what was established in the previous DCEU entries and gives the character of Barry a solo adventure that embarks upon a multiverse adventure of the series past; marking the end of the known cinematic universe. While the feature does struggle within its concoction of its own narrative constructs (fragmented threads) and a messy third act, the movie still manages to make some blockbuster entertainment, with its action sequences, humor, nostalgia references / cameos, and performances, especially in Keaton involvement. Personally, I thought that this movie was somewhere between okay and good, which might sound like a bad thing, but, given the recent trend of the DCEU entries of late, it’s a pretty good opinion. True, the movie is a bit choppy, has several plot chunks that are fragmented and several moments are bit wonky, but I felt that the movie was definitely an improvement over the releases of Black Adam and Shazam! Fury of the Gods. That being said, I still feel that the movie’s end point, while clever in transitioning to a cinematic universe, leaves a lot to be desired, especially since Warner Bros. dashed the larger plans for the DCEU and (by extension) the Snyderverse. Still, for better or worse, the movie does what it needs to do and deliver on the promise, which is an unapologetic excuse to close out this cinematic universe and restart another. Thus, my recommendation for this movie is a favorable “recommended”, with the film (flaws and all) still manages to be entertaining and I’m sure fans of the DCEU will find interest in the feature’s callbacks and moments. What lies ahead remains elusive for the new DCU, with two remaining projects (Blue Beetle and Aquaman and the Lost Kingdom) are leftovers from the DCEU (yet branded under the new universe), with Superman: Legacy being the first official (fully fledged) motion picture underneath Gunn’s vision set to be released in the near future. For now, The Flash, while stumbling in a few areas, manages to effectively (for better or worse) close out the DCEU in a flashy and sometimes celebratory presentation of time travel shenanigans and fixed points of unaltering paradoxes.
3.7 Out of 5 (Recommended)
Released On: June 16th, 2023
Reviewed On: December 5th, 2023
The Flash is 144 minutes long and is rated PG-13 for sequences of violence and action, some strong language, and partial nudity
source https://jasonsmovieblog.com/2023/12/05/the-flash-2023-review/
