The latest DC Comics superhero to have his own big show, The Flash isn’t his usual brooding stalwart. He’s neither an old-style god nor a new one (aka millionaire), but an inspired nerd who joined the super ranks by accident, not by birthright or intention. Once in uniform, he’s normal, goofy, and kind of adorable. He’s really, really fast. But what makes him stand out on screen is because, as is always the case with this kind of explosion, he remains playful and weightless even when things get bigger and steeper here. .
It’s a relief, especially considering how the movie tries to keep you in submission. Big action-adventures always train their audiences and amaze them with their impact and magnificence, but sometimes it feels as if modern superhero movies have taken this kind of impact to new heights. That may be true, but movies have long relied on the spectacle—fireworks and extravagant sets—to lure, hook, and pummel audiences, and audiences have kept asking for more. One reason that fistfights feel more and more inevitable these days is that major studios now rely heavily on superhero movies.
“The Flash” is one of the most notable works. The cast is smart, ambitious, and the two-and-a-half hours go by relatively quickly. The story follows Barry Allen (Ezra Miller) and his superhero persona, The Flash, who whistles as they are wrapped in vines of lightning. Traverse the space-time continuum. He tries to exonerate his father (Ron Livingston), who is in prison for the murder of Barry’s mother (Maribel Verdu). As is often the case with superhero movies, the story is nonsense and convoluted, and it’s no wonder that the characters try to explain by entwining boiled spaghetti to illustrate important plot points, but disastrously. isn’t it. The overall atmosphere is bright.
Part of that exuberance comes from Miller, an uptight, almost exuberant charismatic presence. (Their well-known off-screen troubles hang over the film like a cloud.) Of course, part of the Flash’s appeal is the character in the original comic book, which first hit in 1940. The Fastest Man on Earth was also imprinted (by creators Gardner Fox and Harry Lampert) and improved in 1956 (by Robert Kaniger and Carmine Infantino). In the issue five years later No.123, discovering that these versions of Flash (there are others) exist on seemingly separate Earths. The film does this idea by introducing a parallel universe from DC Comics.
