We’ve understood the dangers of messing with the past, ever since the 1952 publication of Ray Bradbury’s classic short story, “A Sound of Thunder.”
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| With Batman (Michael Keaton) piloting his Batplane, Barry Allen and his younger self (both Ezra Miller) ponder how to save the alternate universe that The Flash unintentionally screwed up. |
Apparently Barry Allen never read Bradbury’s story, nor does he heed the sage advice of Bruce Wayne. With the rashness of those who believe they somehow can circumvent established universal order, Barry…
…but wait. That’s getting ahead of things.
Director Andy Muschietti’s new entry in the big-screen DC Superhero Universe opens with a bang, as The Flash (Ezra Miller) and Batman (Ben Affleck) scramble to avert a man-made catastrophe, while being aided remotely by the latter’s capable butler, Alfred (Jeremy Irons). This action-packed prologue almost concludes in heartbreak and tears, until a last-minute save by another familiar DCU warrior.
Then, once Flash resumes his civilian identity of police forensic scientist Barry Allen, he’s heartbroken to watch as his incarcerated father (Ron Livingston) loses his final chance to prove that he didn’t kill his wife (Maribel Verdú), back when Barry was just a young boy … a crime for which the adult Barry knows his father has been unjustly accused.
But can’t prove it.
When he suddenly realizes that he can run fast enough to enter a “time bubble” that reveals all past events, Barry recklessly changes what he believes is the trivial event which will alter that long-ago outcome for both his parents.
Sigh. So foolish…
At first blush, Christina Hodson and Joby Harold’s script adds a welcome dollop of Marvel Universe-style humor to what has been a string of dour, grimly violent DCU entries. Barry, Bruce and Alfred exchange dry asides during the aforementioned prologue, and there’s a strong sense of fun in The Flash’s quick-witted rescue of the many infants in a hospital Newborn Nursery unit.
It’s clever, as well — and a great ongoing gag — that the all-too-human Barry must eat voraciously, and constantly, in order to replenish the body fuel expended by his pell-mell dashes. (This guy definitely needs to rely on his wrist watch calorie counter.)
But I’m dismayed by the scripters’ decision to make Barry an insecure, stammering, tongue-tied dweeb with zero social skills. He’s embarrassing, particularly because Miller plays those characteristics so persuasively. I can’t imagine why his fellow Justice League members put up with him.
Anyway…
Flash gets hurled out of the time bubble by a mysterious Whozit, and lands in what he initially believes is his time frame. This suspicion is enhanced when he visits home and happily sees his father and very-much-alive mother … although the latter seems puzzled by his “mature” appearance.
Then the merde hits the fan when Barry is confronted by his younger, college-age self.
Not the right time frame.
Worse yet, not even the right universe … because it quickly becomes apparent that there’s no trace of Superman, Aquaman, Wonder Woman or any other Justice League members. This is a serious problem, because Earth suddenly is invaded by Gen. Zod (Michael Shannon) and his Kryptonian super-forces … who were stopped by Superman, back in Barry’s universe (as depicted in 2013’s Man of Steel).
Now in a full panic, Barry searches for Bruce Wayne … and finds him. With his younger self in tow — who has justobtained his super-speed powers during a lab accident, as he was intended to — Barry heads for Gotham City and what seems a totally deserted Wayne Manor.
Ah, but that’s misleading. Turns out an older and semi-retired Bruce Wayne is very much in residence … and played by Michael Keaton (who will be remembered for having introduced the new big-screen Batman, in director Tim Burton’s 1989 and ’92 films).
Okay, this is totally cool. And Keaton has lost none of the grim-faced gravitas he brought to the role, back in the day. He’s by far the best part of this film.
Equally cool: When Barry finally persuades Bruce to once again don his Bat-suit, Benjamin Wallfisch’s thrilling score revives Danny Elfman’s beloved “Batman theme.”
Our heroes’ goal: Banking on some touch of synchronicity between universes, this one must have a Superman — perhaps waylaid, captured, brainwashed or whatever — because that’s the only hope of defeating Zod and his army.
The results of this search … are unexpected.
Indeed, what ultimately turns into a series of cascading universes will delight longtime fans. No question: Hodson and Harold pay serious tribute to DC comic book lore. This saga’s climax — although overblown (as always seems the case) — will make said fans drool.
Unfortunately, the bulk of this adventure is bogged down by the insufferably infantile behavior of 18-year-old Barry. A little bit of the immature “Golly-gee-wow, super powers are neat!” would have been fine, but throughout the entire film? The childish conduct wears thin almost immediately, and then becomes insufferable. Tedious. Moronic.
Even worse: a brief visit to younger Barry’s college dorm room, which he shares with a quartet of juvenile freaks. I can’t imagine why this detour exists, except to reaffirm — in the minds of mainstream viewers who believe that all superhero movies are stupid — that they’re absolutely correct.
That said, there’s no question that the SFX “doubling” of Miller, playing both of Barry’s selves, is jaw-dropping. You’d swear the filmmakers found Miller’s hitherto unknown twin.
Kiersey Clemons is all but wasted in brief appearances as Iris West, Barry’s longtime love interest from 1950s and ’60s comic books: only a meet-cute here, perhaps to set up a larger role in some future film.
Spoilers prevent my mentioning another unexpected character with a much larger part in these proceedings; suffice it to say, it’s a nice surprise.
Longtime comic book fans will adore the click-bait, but it sure would have been nice if these “respect for tradition” touches had been accompanied by better characters.
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