The latest DC movie is the cinematic equivalent of a snake eating its own tail. This isn’t a film so much as brand management in flailing motion.
, the controversial 2011 crossover arc that completely revamped DC and ushered in the New 52, a reboot so reviled that DC is still shaking it off all these years later. For all its faults, of which there are many,at least took risks: Alliances changed, subsequent story developments had momentum and force. But inthe status quo is fought for and maintained. It centers on the man behind the moniker, the awkward Barry Allen , who often uses humor to distract from his pain.
at the hands of Barry’s imprisoned father — becomes headline news again, and he tries and fails to flirt with a reporter named Iris West , who’s tasked with peering into his tragic life.doesn’t tease out the complications of Barry’s loss so much as use them as a springboard for uninspired multiverse plotting. When he realizes he has the ability to run fast enough to travel back in time, Barry decides to stop his mother from being murdered and therefore save his father from being imprisoned.
could be waved away if the emotional terrain and aesthetics of the film had a strong enough point of view, but what follows proves otherwise. Barry and his highly obnoxious alternative self realize the gravity of their situation and seek help. They track down Bruce Wayne, in this universe played by Michael Keaton, picking up the cape for the first time since working with Tim Burton on the gothic fantasias.
Let’s get this out of the way: Ezra Miller is perfectly fine in the role. They are not charming nor yearning enough to make the character’s haphazard decision-making resonant, but they fill the part with enough energy to avert a complete disaster. Even so, Miller seems uncomfortable with such bombastic excess. More successful is Keaton, who lends gravitas and gruff humor to the role of elder Bruce. But the acting ranges from mildly amusing to completely checked out.
But the actors’ collective inability to generate excitement is not the fundamental problem. Like so many superhero films before it,doesn’t know how to trade on its nostalgia. Consider Keaton’s Batman, who, aside from his physical appearance, bears little resemblance to the one from Burton’s universe. What helped make Burton’s Bruce so compelling was the baroque wonderland created for
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