The Flash (2023)

The critic praises it as an entertainingly bonkers piece of fluff among the very best DC movies, with consistent tone and inventive humour. They single out the dual performance by Miller, Keaton's triumphant return, and geeky cameos for praise while noting some niggles like an overlong script.

The critic describes an entertaining adventure that outruns familiar trappings thanks to playful humour and Keaton's supporting role. They single out Miller's compelling lead performance and the focus on Barry's emotional journey for praise, while noting it tends to be jokey rather than hilarious.

The film is an entertaining but overstuffed adventure with inventive set pieces and strong turns from Miller, Keaton and Calle that deliver fun and joy. It ultimately feels uneven and frustrating due to narrative knots and a lack of cohesion.

The critic finds the film a disappointing, CGI-heavy multiverse caper that feels like diminishing returns for DC. They single out the ugly VFX and rote storyline for complaint while noting some appeal in the nostalgia and Keaton's performance for fans.

The critic is tired of multiverse stories and finds the convoluted plot muddled and needlessly confusing despite some witty moments. Keaton is praised as a perfect grouchy foil to Miller, but the overall storytelling impact is weakened by the parallel-universe complications.

The critic calls the film bewildering with ugly effects and a parade of fan-service cameos that make it the opposite of a reset. Miller’s double act and multiverse plotting are hard work.

The critic calls it a motor-mouthed mess of shoddy CGI and annoying multiverses that fails to distract from surrounding controversies. They single out some clever ideas and touching moments for praise amid the visual ugliness and weightless ending.

The critic calls the film banal and a gaudy retread, criticizing its lack of humanity and reliance on uninspired nostalgia and multiverse plotting.

The film is one of the best in the DCEU, a witty and warm buddy comedy centered on the two versions of Barry Allen. The critic singles out the strong performances and dynamic between the Barrys, along with Michael Keaton's return as Batman, for praise while noting the emphasis remains on the hero's emotional arc.

The critic finds the film initially enjoyable but increasingly sloppy, with strong energy in its time-travel sequences undermined by fan-service overload and imaginative poverty in its design. Miller delivers a witty, nimble performance and Keaton provides a highlight as Batman, but the movie ultimately stumbles in its execution.

The film fails to impress despite some diverting moments, with Ezra Miller's smirking performance becoming a trial amid a weightless CGI finale. It lacks new ideas or dramatic rethinking compared to superior multiverse entries like the Spider-Verse films.

The critic finds it enjoyable entertainment but uneven, falling short of the hype. Praises Ezra Miller's performance for bringing humor, heart, and vulnerability.

The film is a gargantuan trove of pointlessness built on callbacks to previous DC actors and clunky sequences aimed at fan reactions. It retreats into schematic shout-outs and a chaotic third-act climax that prioritises spectacle over substance.

The review calls the film ambitious, fun and messy, with a sparky script and strong supporting turns from Keaton's Batman and Calle's Supergirl providing flashes of fun. It criticizes the CGI excesses, Miller's mannered performance and under-integrated elements that make the tone choppy.

The film starts strong with a playful, heady comic-book caper feel and Ezra Miller's mesmerizing, antic performance as the speedster, evoking Back to the Future vibes. It grows overwrought in the second half, shifting to noisy blockbuster self-importance and arbitrary multiverse bombast that undercuts its early charm.

The critic calls the film wildly fun and one of the best comic-book movies in years, easily the strongest since Spider-Man: No Way Home. Ezra Miller’s dual performance and the return of Michael Keaton as Batman are singled out as major highlights.

The critic finds the film an entertaining, funny, emotional crowd-pleaser that ranks among the best DC movies ever made, thanks to a solid script and strong performances despite some issues and fan-service moments. They single out the inventive slow-motion sequences, especially the hospital baby-saving scene, for praise.

The Flash serves as a messy eulogy for the Snyderverse and unmade DC films, delivering a bright and imaginative buddy-comedy vibe through its time-travel premise but feeling overwhelmed by corporate nostalgia and fan-service that makes it smaller than it aims to be.

The critic finds it enjoyable as a multiverse story but criticizes the time travel elements and narrative inconsistencies; praises the character moments and Michael Keaton's return as Batman.

The critic views the film as a hollow exercise overfilled with fan service and special effects that fails to make Barry Allen the true lead of his own story. They single out the shift from a personal core to bland world-building and CGI action as a major complaint.

A vaguely competent superhero adventure hampered by the star's off-screen issues and DC's baggage, it feels rote and adds little new to the genre despite some amusing elements and Keaton's presence; it is overshadowed by better multiverse films.

The critic views the film as a soulless, depressing culmination of IP exploitation and nostalgia, criticizing its reliance on past references, poor CGI, and overall execution despite some early promise in simpler moments.

The critic calls it one of DC’s best movies, praising its fast pace, character focus, humor, heart, and genuine affection for the comics and superheroes. They single out Ezra Miller’s dual performances as Barry Allen for particular praise while noting the film occasionally loses its way in a cluttered final act of CG effects.