The Flash Review

The good part is real and worth saying. The film's emotional argument, that some wounds cannot be repaired without unmaking everything else, is well built, and the supermarket scene where Barry watches his mother reach for a tin of tomatoes is genuinely moving. Michael Keaton returning as an older Batman is not just fan service; he plays a man who stopped decades ago and is delighted to be needed, and the spaghetti explanation of time is the most fun anyone has in the picture.

Sasha Calle's Supergirl deserved better than she gets. Everything around this is a mess. The Speed Force is rendered as a rubbery smear in which digital infants are flung around a collapsing hospital, images so strange that they became the film's public identity, and the finale reduces the multiverse to a bowl of dead franchises staring blankly out of screens. The tone lurches between slapstick and grief. Add the off screen problems around its lead and a marketing campaign that promised a reset, and it landed as a full stop rather than a beginning.