POSITIVES<\/span><\/p>\n\n\n\nIt’s a bit of a shame that this incarnation of the D.E.C.U is finished because I feel Muschietti really added a refreshing element to the proceedings that has been missing in this otherwise overtly gritty enveloping of this universe. It starts with the tone, which here is dependable towards humor, incorporating everything from slapstick to situational in ways that work tremendously well within the personality of the titular protagonist, all the while solidifying an effectiveness to delivery that landed surprisingly well for a majority of the engagement. There are obviously dramatic beats, as evidenced by the sentimental themes accompanying the movie’s trailers, and they were an equally appreciated element for how they prescribed levity to the sometimes overzealousness of the humor, which like the adolescent side of Barry, does occasionally get away from the grasp of the direction, but never in ways that annoyed me like in “Thor: Love and Thunder” or “Shazam 2”. Beyond this, the pacing also replicates the aspects of The Flash with 139 minutes of invasive and even exciting storytelling that constantly moved the plot forward at all times. This is not to say that the screenplay is error free, as there’s plenty of problems that I will critique at the right time, but just that I was continuously invested to the exploration of this newly expansive universe, with a uniquely intriguing character study of Barry’s past and present, as well as several tastefully earned Easter Eggs of nostalgia that not only enhance the stakes and circumstances of this one-off film, but also pay homage to the rich history of D.C properties, long before this extended universe ever took shape. Then there’s the monumental orchestral achievements from Benjamin Wallfisch, who here commands audible identity in a versatility of iconic themes and compositions that tell the complete story of everyone imbedded into the story. Surprisingly, Wallfisch efforlessly conjures the enticement and excitement of Danny Elfman’s iconic “Batman 89” score, but it’s the way he evolves them in the confines of The Flash’s themes that are most integral, making them transition smoothly as one cohesive composition, instead of jerking, jolting switches that feels like Benjamin is stacking one theme abruptly over the other. These musical triumphs help to inspire urgency and inspiration in the many fun action sequences that they audibly decorate, especially in the case of an opening dual conflict, in which The Dark Knight fearlessly steers through the streets of Gotham, while Barry rescues babies from a crumbling hospital, garnering what is easily my favorite of the entire film. Finally, the performances all around are dashingly delightful, especially in the case of the trio of superheroes at the forefront of the narrative who each add an element of magnetizing gravitas to their respective personalities. Much deserved credit goes to Miller, who I’m not particularly a fan of in real life, but someone who seamlessly diversified his approach towards the dual Barry’s that he orchestrates throughout. On the youthful side, Ezra triggers naivity and immaturity that convey power in the wrong hands is indeed a dangerous proposition, but as the knowledgeably driven and determined elder Barry, Miller really comes into his own, stitching enough heart and humanity to the role that feels like a major step forward for Miller in the limelight of the extended universe, all the while outlining just how far the character has evolved emotionally in such a short time. Sasha Calle is also highly impactful as Cara, or Supergirl as she’s especially known as. Calle is intense and resilient in articulating an unshakeable screen presence that immediately grips you towards her approach to the iconic character. But of course it’s Michael Keaton who makes the most of his minutes by seamlessly stepping back into the shoes of a character he hasn’t played in over thirty years, with natural essence and captivity that makes you believe every bit of his aged to perfection transition. I’ve always been a fan of the weathered Bruce Wayne of the comics, and here Keaton vividly bears the wear and tear of a life as the hero, but never in ways that make him appear slow or stagnant towards obliterating the kind of believability that he garners so effectively.<\/p>\n\n\n\n
NEGATIVES<\/span><\/p>\n\n\n\nWhat ultimately keeps “The Flash” from reaching top tier status of D.C and superhero films in general is a problematic screenplay that feels like it is the victim of several rewrites along the way. I say this because the disjointed and uneven transparency of the movie’s flawed outline begins to rear its ugly head at around the movie’s halfway point, and in turn dramatically undercuts vital characters and subplots necessary to flesh out some of the more compelling aspects of Barry’s own story. The big victim here is definitely love interest Kiersey Clemons’ Iris, who is constantly alluded to being this vital figure in Barry’s life, but only shown in two scenes throughout the entirety of the picture. Likewise, Michael Shannon’s return as General Zod is a major disappointment, in that the film never articulates influence from his vantage point solely, leaving the antagonist of the film feeling nearly inconsequentially irrelevant, only to turn up at the moments that the film absolutely requires him. Likewise, an abundance of surface level plot holes are apparent by even the film’s own flawed logics of time traveling, with too much suspension of disbelief needed for elements of the universes that are downright silly. Beyond this, the film’s perfect pacing comes to a screeching halt during the last twenty minutes of the film, where an underwhelming and even unresolved climax leaves much of the momentum on the cutting room floor of the finished product. Considering two hours of this film constantly maintained the gripping appeal within its refreshing tonal circumstance, the ending kind of unfortunately reverts back to what has made D.C such a drag in the first place, with boisterously loud armies, supercharged cinematography, and horrendously awful C.G deposits saturating the canvas of a story absorbed in humanity. Because the execution of the conflict feels so stretched and ultimately unsatisfying, it keeps the film and this universe from going out on the exhilarating thrill ride that it needed to leave a lasting impact, instead gasping its last breath with a wimper of instability that can be seen in nearly every film of this franchise previously. As for the aformentioned effects work, they’re revoltingly the worst that I’ve seen from a superhero film since the early 2000’s were still figuring out how to showcase these stories. For a film with a budget of 220 million dollars, these artificially laughable renderings are simply inexcusable, and in the case of the visual representation of a metaverse that Barry interacts with, constantly broke my attention and investment to the narrative, with such uncanny valley levels of imagery that I didn’t know whether to laugh or shamefully shriek at.<\/p>\n\n\n\n
OVERALL<\/span>
“The Flash” is fastly paced and energetic like its title character, but still suffers from some of the same problems that have made this the finale in a disappointingly underwhelming extended universe. Though despite its flaws, it’s a film that respectfully goes out on its own terms, with one ambitious goodbye that not only leaves this one of the more entertaining installments of the D.E.C.U, but also a love-letter to the richly storied history of D.C and the memories of time that we will never get back.<\/p>\n\n\n\nMy Grade: 7\/10 or B-<\/p>\n","protected":false},"excerpt":{"rendered":"
Directed By Andy Muschietti Starring – Ezra Miller, Ben Affleck, Michael Keaton The Plot – Barry Allen (Miller) is struck by a bolt of lightning and thus, an extraordinary power is born inside him: The Speed Force. When he uses this power to run back in time and save his mother (Maribel Verdu), he creates […]<\/p>\n","protected":false},"author":2,"featured_media":7675,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[16,4,21,22],"tags":[],"_links":{"self":[{"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/posts\/7674"}],"collection":[{"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7674"}],"version-history":[{"count":1,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/posts\/7674\/revisions"}],"predecessor-version":[{"id":7676,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/posts\/7674\/revisions\/7676"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=\/wp\/v2\/media\/7675"}],"wp:attachment":[{"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7674"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7674"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/thefilmfreak.com\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7674"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}