_The Flash_ proves to be a competent superhero film. Not the best, but a breath of fresh air amidst the hot mess that has flooded the genre in recent years. It stands on its own, requiring only a basic understanding of past character portrayals, unlike the convoluted soap opera often seen in DCEU and MCU lines.

Despite its ensemble of superheroes and characters, the film manages to strike enough of the right chords.

It balances humor without overdoing it like _Shazam: Fury of the Gods_, _Black Adam_, or any Marvel Cinematic Universe films in the last 10 years. The fanservice of Keaton's Batman is tastefully done, providing memorable lines and explosive gimmicks without overstaying his welcome. The action sequences are well-choreographed, particularly those involving Affleck's and Keaton's Batman, although the initial speedster scene falls somewhat short as _Days of Future Past_ already sets the bar high. The most important, the film possesses a straight enough plotline to propels the story forward, but still offers moments of intrigue and uncertainty where you would ask the direction the film will be taking.

The film however stumbles in Kara/Supergirl's parts. The plot revolving around General Zod and Kara's arrival and departure feels clumsy. It underplays the significance established in _Man of Steel_ regarding Clark's purpose on Earth, not to mention the spandex that Kara somehow brought everywhere makes her feels comical. Sasha Calle seems unable to pull a good Kara impression; her attempt to embody a complex yet tough character feels like forced, relying on screaming and unnerving facial expressions, and her decisions throughout the films appear abrupt. Her bitterness leaves more to be desired as it seems to be quickly resolved. The grand battle feels tonally inconsistent with some rock music, Keaton's soundtrack, and Kara's theme blasting over each other. Although Michael Shannon delivers a menacing performance as Zod, the thin plot he walks on undermines his presence.

Fortunately, _The Flash_ remains true to its scale.

While the film introduces multiverses, at its heart is Barry's personal desire to save his mother. Barry isn't driven by a grand mission to save the multiverse; he's a reluctant hero who finally acts when met a seemingly dead end. One might say that the resolution offered by the film presents a fatalistic view of history, unlike the practically optimistic tone of _Avengers: Infinity War_, but the strength of the film is not to have the final say of all of these actually work: as the climax unfolds, both Barry and the audience are left wondering where the breaking point lies in history that must remain untouched. The film avoids drowning the audience in pseudoscience for explaining the multiverse, opting for Keaton's short and humorous spaghetti metaphor. The most compelling aspect is the film's ability to maintain a personal scale despite the high stakes, leaving the audience emotionally moved with effective lines in the resolution that in the first 15 minutes of the film seemed clichéd. The ending provides a pleasant surprise, setting the stage for a fresh start in the DC Universe.

Without boasting the concept of multiverses like _Doctor Strange: Multiverses of Madness_, _The Flash_ is an enjoyable soft-reboot multiversal superhero film that leaves quite an impression. Not the best superhero film certainly, but perhaps still ranking among the better ones in the multiverse/time-reversing subgenre of superhero films, possibly trailing only a few steps behind _Days of Future Past_.