we have to talk about Flash. The problem with entrusting everything to a messiah is that the messiah in question ends up being annoying; a beating man of those who repeats the end of the jokes in case you haven’t caught it. Of those who have a podcast in the afternoon. One of those who, contrary to the golden rule established by Mark Twain, ends each of his occurrences with a loud laugh. The multiverse is, in effect, the new unfunny comedian of the supercomedy club of the increasingly miserable world of flying superthings.Flash arrives on the billboard as the last great trick; as the redeemer of all evil; as the opposite of the suggestive and messy (all at once) collapse signed by Zack Snyder; as the witness that the new director of all this has to take into his hands, James Gunn (another annoying chosen one, we fear); like the hero with problems adapting to the real world who, out of sheer disaster, ends up liking us; as the most Hispanic, diverse, multi-fruit and friendly of the extraordinary beings that have populated the planet Earth since phase one began in Marvel in 2008 and in 2013 the Man of Steel inaugurated his foundry.
Well then, Flash it’s basically heavy. The film hailed on Twitter and extraordinary networks such as la repanocha, as Chavo del Ocho would say, is reliable proof and the last testimony of how a good idea can end up transformed into a a plate of overcooked spaghetti (the image is understood after watching the movie). It is basically about recovering for the screen the famous and celebrated series Flashpoint devised by Geoff Johns for the role. That is, the objective is to revitalize the Mortecino more of the same one dimensional with the much more sparkling and multidimensional multiverse. You know, we are talking about that happy marketing resource that consists of multiplying by a thousand the possibilities of counting over and over again the usual thanks to Schrödinger’s cat (dead and alive at the same time), to quantum physics with its gardens of paths that fork, and, for that matter, Asimov and his monumental The end of the eternity.
The first problem is that Spider-Man: Crossing the Multiverseby Joaquim Dos Santos, Kemp Powers and Justin Thompson, is two weeks away on the billboard and the mere comparison is not offensive, but it is uncomfortable. Everything that is irony, ease of speech, rhetoric without excesses and imaginative penmanship in the animated film, here is simply ugly. And the latter is not a minor problem. Flash it’s an essentially ugly movie with some ugly special effects that shine a lot. And they shine excessively on a film with a dark photograph. But not dark from gloomy, but dark from cloudy, as if the lenses were dirty. And of course, before we get into the situation, the first impression is that of having gone to the wrong room in the multiplex or of having forgotten the sunglasses at home.
It’s not all bad, beware. Maribel Verdú is Maribel Verdú, She speaks like Maribel Verdú and she’s fine.
The Ezra Miller thing is something else. On the one hand, it is annoying that an actor with obvious mental health problems has spent in less than the duration of a meeting of savvy and unscrupulous publicists of demon and poison for the box office in advertising resource. But perhaps that is another question of character, let’s say, ethical and we are not going to exaggerate either. The protagonist of We need to talk about Kevin is delivered to a double paper type Return to the future where he is both the cause and the consequence; the young and the old; the sane and somewhat neurotic adult and the irresponsible youth (think Greta Garbo in The woman with two faceswell nothing to do). And it doesn’t hurt, but it doesn’t kill either. He simply complies, which given the situation is enough because after all his character is nothing more than a cog in the fine multiversal gear that he wants to be Flash.