The Flash (12A, 144mins)
I have a confession to make: I’ve seen nearly 90 superhero movies churned out by Hollywood, courtesy of DC, Marvel, and others. And for the most part, they’ve been forgettable. The superhero genre itself is not the problem, but rather the sheer quantity of these movies. After a while, all the figures in spandex become indistinguishable.
However, there have been a few exceptions. The Avengers movies have had impressive production values, Captain America: The First Avenger showcased accomplished storytelling, and Christopher Nolan’s Dark Knight trilogy gave us a Batman experience like no other.
But despite signs that the superhero era is waning, we now have The Flash, one of the lesser-known DC heroes, vying for his moment in the spotlight. The Flash has been a staple in DC Comics since the 1950s but only recently made his cinematic debut in the Justice League films, which ultimately led to this spin-off.
In The Flash, we are introduced to Barry Allen, a socially awkward forensic scientist played by Ezra Miller, who gains superhuman speed after being struck by lightning while experimenting with chemicals. Barry is allied with the Justice League and rushes to Gotham City to help Batman clean up after a violent heist. While performing his duties, Barry becomes preoccupied with saving his father who is in prison for a crime he didn’t commit.
Barry decides to use his speed to travel back in time and prevent his mother’s murder, thus altering his present reality. However, things don’t go as planned, and Barry finds himself in a universe without superhumans, confronted by his younger self. To make matters worse, General Zod arrives to destroy Earth, forcing Barry to team up with his younger self to save the day.
The Flash showcases Miller’s portrayal of two versions of Barry Allen and features a humorous performance by Michael Keaton as an aged Batman. Although the film has moments of wit and some notable cameos, there is a sense of unease when it comes to its storytelling. Director Andy Muschietti throws in excessive special effects and incorporates various other DC characters, which can come across as desperate.
Nowhere is this desperation more apparent than in the film’s frenetic and overblown ending, which attempts to unite the entire DC extended universe but may have ended up undermining it instead.
Despite its flaws, there is still hope that the superhero genre can evolve and deliver more compelling stories for audiences.
Rating: Two stars
The Flash releases on Friday, June 16, 2023.
Greatest Days (12A, 112mins)
Greatest Days is a musical fantasy inspired by the songs of Take That. Set in a kitchen sink setting, the film follows Rachel, a children’s hospital nurse portrayed by Aisling Bea, who has an enduring passion for a boy band called The Boys from the 90s.
As a teenager in greater Manchester, Rachel bonded with her friends over the catchy songs of The Boys. In daydreams, she still envisions the band members serenading her from under beds and out of wardrobes.
As Rachel approaches her 40s, her boyfriend eagerly wants to settle down, but she is drawn to the idea of reuniting with her old friends. When she wins tickets to a Boys reunion concert in Athens, Rachel invites her long-lost friends to join her. As they reconnect, we learn about the reasons for their estrangement over the years. These reflections on life are interspersed with stirring renditions of Take That’s iconic pop songs.
Aisling Bea shines as the lead, and while Greatest Days may have its sentimental moments, its British charm makes it forgivable.
Rating: Three stars
Sunlight (15A, 91mins)
Sunlight, directed by Claire Dix, is a low-budget drama with a lively tone and underlying darkness. The film centers around Leon, a recovering drug addict played by Barry Ward, who is full of zest for life. Despite facing resentment from some on his estate, Leon stays committed to his sobriety and aspires to make a career as a musician.
Leon owes his newfound health to Iver ‘The Viking,’ played by Liam Carney, a grizzled mentor who helps young Dubliners turn their lives around. However, Iver is now confined to a wheelchair due to motor neuron disease and wants to die before losing his voice. He asks Maria, portrayed by Maureen Beattie, to assist him in ending his life.
Horrified by this request, Leon plans a day out in Dublin 8 to try and change Iver’s mind. While Ailbhe Keogan’s screenplay has its moments of tonal inconsistency, most of the dialogue rings true, and Carney and Ward deliver exceptional performances as the odd couple from the inner city.
Rating: Three stars
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