The Flash (2023) review: DC’s ambitious undertaking is the most apt way to bring the DCEU to a finale

For DC’s fastest hero, it is somewhat painfully ironic that it has taken so long for the Scarlett Speedster’s first cinema-released picture to arrive. 

This film’s setbacks have been plentiful, many of the problems exclusive to DC’s universe-shattering film, many others more widespread among the entire industry as a whole. But adding to this pressure to even get to the silver screen finish line at all, we also have arguably some of the grandest pre-release hype for a modern blockbuster to live up to. Not to mention the daunting task of essentially tying up a whole franchise, as the DC Extended Universe as we know it, gets its James Gunn reset. Oh, and there’s that little return of a certain someone to the cape and cowl for the first time in three decades!

We throw the word ‘ambition’ around a lot today but The Flash is certainly one of the most ambitious blockbusters to come along this generation, and with the praise of Stephen King and Tom Cruise behind it, and terms like “greatest superhero film ever made” being thrown out there into the reviewing multiverse, it all really boils down to two questions. Is it really? And was it worth the wait? Well lets dive in…

The film sees Barry Allen (Ezra Miller) find a way to potentially go back in time and fix so many wrongs but in turn might just have broken the world! As he finds himself in a place both familiar and alien, at a point of true crisis.

The Flash is an emotionally complex story, which sees past and present, and indeed world’s, collide. In fact, for all the current talk of IP mugging and fan service, this film was not quite the conveyor belt of faces I expected it to be. There are certainly many surprises, thrills and spectacle in this story, with many differing ages of DC fandom sure to be pleased, but Andy Muscietti’s film (much like his It films) really does anchor the most weight to the plot and emotions. Which is very refreshing.

This is a film about regret, living with pain and potentially being destroyed by it, a superhero story of greater good and the stakes that come with it, and one that tips its red cowl to previous worlds of Tim Burton, Zack Snyder and more, in a Richard Donner-esque marriage of fun (it is a very funny film) and gravitas, in a time-splintered story from Christina Hodson, which is indebted to the likes of Back To The Future.

The film has many surprises that we won’t spoil (a couple of which are pretty big – the biggest of which is the final one) but is very much a work of love, that much is crystal clear. Furthermore, were it not for such aggrandised and aggressively pushed hype, we think the film would have drawn far greater responses than it has, because it really is fantastic, if not “perfect”. 

The villain of the piece of sorts, while thematically appropriate, is somewhat of a letdown, there are some missed opportunities not taken, some supporting players get less to work with (Michael Shannon’s General Zod and and Kiersey Clemons’ Iris West), and the third act – while fun – is certainly frantic in ways that may take a couple of repeat viewings to really make your mind up on. But the film does so much right. From some zany set pieces, to a rewarding story, and a memorably bizarre aesthetic that cements this as a Flash story through and through, with a tremendous score by Benjamin Wallfisch.

Ben Affleck’s potentially final turn as Batman is excellent, Sasha Calle’s debut as Supergirl is exciting and impactful as a new star rises, and Ezra Miller’s dualistic performance is maybe the actor’s greatest ever on this big a scale. Miller nails the pain, as well as the happiness, and offers up one hell of a final hurrah in this divisive era of DC moviemaking, in a turn that really is so suited to the actor in numerous ways. Though it is the return of Michael Keaton as the Batman we know and love from another universe entirely, that is perhaps the best card of all! Keaton fits so effortlessly back into the suit that it is as though no time has passed at all, and his performance is soulful, badass and utterly transfixing. Making us mourn the fact we never go that third film from him all those years ago but thankful we go this last ride.

So, let us go back to those two questions posed earlier. Is this the greatest superhero film ever made? No. Was it worth the wait? Certainly. The Flash may not be perfect but it is a perfect conclusion to the DCEU. A weird, wonderful and untidy jump across eras of DC storytelling, resulting in a love letter in some ways, but moreover a story and emotion-driven film worthy of the lightening fast character, who is really brought to life by Miller better than ever before. And yes, 30 years later, Michael Keaton is still THE Batman.