It’s not that “The Flash” or some of that other content is bad. The new film has it moments, thanks mainly to Miller, who brings a mesmerizing energy to dual roles: one their character’s relatively calm 30-ish self, the other a manic, teenage version of Barry he accidentally encounters while attempting to return to the present. The disconnect between Barry’s mature and adolescent selves, a running gag, can be amusing.
The strain is apparent. Stranded in the past, having lost his own powers and been saddled with training his tag-along younger doppelgänger – by re-creating the lightning strike that gave him his superhuman speed – Barry embarks on a mission to rectify his mistakes.
As this grizzled Bruce explains to Barry – using a bowl of cooked spaghetti and several uncooked strands as a nonsensical visual aid – changing the past alters not just the future but the past as well, thanks to something called retro-causality.
It all culminates in the kind of chaotic, epic battle sequence of which you will by now be well familiar – perhaps even sick of – one made more incoherent by the teenage Barry’s frequent sorties back into the Chronobowl to do or undo something that might set things aright. Expect numerous, gratuitous appearances by various personages from previous DC Comics film and TV content – some released and some never made – for no other reason than fan service.
At the center of all the mayhem is Miller, who has been in the news lately for the wrong reasons: criminal charges, in addition to abuse and assault allegations. It’s an all-too-easy mistake to conflate the performer with the performance. But the troubled actor, ironically, brings to their character an intriguing sense of duality – a split personality – that offers the film’s most accessible and intriguing interpretation of the multiverse: a man at war with himself.
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Source: TheTorontoSun - 🏆 23. / 68 Read more »