“The Flash”, superheroes at the end of the race in the multiverse

Barry Allen / The Flash (Ezra Miller) in


Already crossed in the DC Comics universe, owned by Warner, The Flash returns today in its own right, with Ezra Miller in the title role and Andy Muschietti (director of That) behind the camera. Suffering from psychic fragility, arrested for assault and harassment, the actor with the false air of Buster Keaton embodies in the film Barry Allen, a character who does not himself have full mental integrity.

Orphaned, like his Justice League accomplice Batman, by a mother murdered as a child, Barry, inconsolable and consumed by guilt, never ceases to want to change the past and bend the course of destiny. . He is lucky, to do this, to have been sprayed with a large number of toxic products which have given him the power to go faster than the speed of light and thus to move without difficulty in time. .

Parallel Realities

In any case – and according to the old moral lesson of The Sorcerer’s Apprentice by Goethe – this time travel will cause serious damage and open the story to the charms, so to speak, of parallel realities. Accompanied by an old Batman (Michael Keaton, sluggish) and a young Supergirl (Sasha Calle, without relief), he must once again face the super-villain Kryptonian general Zod (Michael Shannon, mummified). All in all, it is still with his double, met during his journey, that the hero trades the most, to the point of upsetting so much the simpering of a single Ezra Miller was enough for our pain.

On the background of the plot, we admit that we have never seen anything so unnecessarily abstruse since tenet (2020) by Christopher Nolan. So that Flash’s dazzling red and gold light and the poetic freeze of the slow motions of his race – used many times elsewhere – fail to hide the superficiality of the story.

The Flash attests in doing so that the new bosses of DC Studios, James Gunn and Peter Safran, outbid the absurd on the narrative charm of the “multiverse” developed by Marvel, which is nothing other than the conceptual smoke of the moment, destined to halo with a pseudo-complexity the great Manichaean spring of the superheroic machinery. The old adage therefore holds true, according to which the more Warner copies Disney, the worse its films are, and the more it moves away from it (Batman, Wonder Woman, The Joker), the better they are.

American film by Andy Muschietti. With Ezra Miller, Sasha Calle, Michael Shannon, Michael Keaton (2:24).

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