Worlds finally collapse in upon themselves with The Flash, resulting in one the most watchable DC films in the last decade merely by standing on the shoulders of everything that’s come before.

Still relegated to side quests for Batman (Ben Affleck) in the Justice League, Barry Allen (Ezra Miller) aka The Flash is distracted trying to find a way to exonerate his father (Ron Livingston) over the death of his mother (Maribel Verdú). In a moment of grief and rage, Barry discovers how to use the Speed Force to rewind time, changing a tiny moment from the past to save his doomed parents. Unfortunately, the Butterfly Effect consequences ripple not only up the time stream but down, creating a new reality with an alternate Batman (Michael Keaton), a new Kryptonian (Sasha Calle), and a duplicate of his younger self, the only heroes who can resist this reality’s emergence of General Zod (Michael Shannon) in a world seemingly without a Superman.

The long-delayed origin story for The Flash finally comes to the big screen in spite of production delays, a transfer of creative power at Warner Bros., and the media antics of actor Ezra Miller (which need not be rehashed here). Once part of the Snyder-verse, this release follows the under-performing Black Adam and the commercially ignored sequel Shazam: Fury of the Gods. The Flash is reportedly now the repurposed master reset switch for the DC Extended Universe under the guidance of James Gunn and Peter Safran. The trailers are stirring interest, the buzz seems to be building, and DC fans are looking for a win (along with theaters and the studio). With Aquaman and the Lost Kingdom still in the barrel slated for release later this year, can The Flash save Barry’s parents and the entire DC Universe at the same time with an outperforming summer release?

Loosely based on the comics story arc “Flashpoint,” Ezra Miller makes an incredible Barry Allen — a fact the Snyder Cut of Justice League highlighted — especially when playing opposite himself with visual effects that would even make “Orphan Black” jealous; the rest of the effects in comparison fall short of this achievement. With Keaton’s Batman as a surrogate mentor and Calle’s alternate Supergirl being instantly likeable, the core cast is solid from an acting and dramatic aspect, but it’s really just stacking the deck. If it can be called a weakness, The Flash cribs from Back to the Future 2, “Doctor Who,” “Fringe,” and every multiverse story since forever, willing to dispose of world-building elements in exchange for fan-servicing a-ha moments and Easter eggs galore. So little is shown to have actually changed that the death of the Snyder-verse may have been greatly exaggerated — thanks, Thelma and Louise — at least until audiences see the first Gunn-Safran DCEU production out of the gate.

Purists could spend months picking apart weird discrepancies throughout the film — not to worry, they will — but much of it can be glossed over just being in the moment. While feeling like a wasted opportunity to cement a few changes, much of The Flash feels like an apology for a multitude of bad choices DC and Warner Bros. have made over the years, like the Joel Schumacher sequels to Tim Burton’s 1989 Batman and sequel, or perhaps planned reboots that languished in development hell before hilariously being exposed as “What were they thinking?” teaching moments. It’s as if all the sins and triumphs of DC’s past cinematic aspirations have been laid bare in a grand parade, and there’s simply no other in-story explanation. The intent, of course, is to pack as many ticketed butts into seats as possible, but at this point Warner Bros. owes fans for sticking with them, a down payment for years wasted with nicotine Superman and nipples on the Batsuit.

The now-defunct Arrowverse built by The CW not withstanding, this is the first foray into DC’s multiverse theatrically. With Gunn and Safran tasked with coordinating television and film properties into a unified storytelling structure the way Marvel Studios has, it remains to be seen if anything of the old will be retained. With just Aquaman and the Lost Kingdom as the last gasp of the existing DCEU, don’t hold your breath.

The Flash is rated PG-13 for sequences of violence and action, some strong language, partial nudity, and eating an entire vending machine’s stock of snacks in one sitting.

Three skull recommendation out of four

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