After going back in time to try to undo his mother’s death, Barry Allen AKA The Flash finds himself in a drastically changed timeline with unexpected consequences, threats and allies.

The Flash surprises with its impressive visual and tonal energy, and feels like possibly the best Flash movie we could’ve gotten. From the beginning, the visual approach to Barry’s powers and the comedic flow of the film’s pace, carried well by Ezra Miller’s dual performance with a nervous, confused charm, is what makes the movie feel like light but very exciting fun. The character feels fleshed out and the grand action combining named heroes feels like the comic-book feel DC has been trying to nail for years. Barry’s story is also very fleshed out, and he’s a character who makes mistakes but is also sympathetic and gets much to work with from a script perspective, with the film tonally feeling like Tom Holland’s Spider-Man with the story elements of Back to the Future Part II, Men in Black 3 or The Adam Project. Michael Keaton gives the film lots of charismatic gravitas and some of the film’s best action moments with his return as Batman over thirty years later; his performance feels exactly like the mentor/deuteragonist the film needed. Sasha Calle gives the movie an edgier side as Supergirl in feature film debut and adds a lot to the film, and Maribel Verdu is excellent as Barry’s mother. However, the return of Michael Shannon’s General Zod as the villain adds almost nothing to the film, and a talented actor like Shannon is given almost nothing to work with, same with Kiersey Clemons who feels underused as Iris West.

The Flash has plenty for action and superhero fans, moving swiftly with heart and an interesting story, though the final act and resolution doesn’t hit very hard or have that same effortless wit. The visual effects in those later scenes also could’ve used improvement. Still, it overall ranks as one of the better DCEU installments and director Andy Muschietti brings a sweet, fun but cosmic eye to the Flash character and the lineup of DC heroes without ever feeling pretentious or losing sight of its audience like the insistent, indulgent approach of Zack Snyder’s films. The Flash benefits itself by never taking itself too seriously but feeling true to its titular character in the most energetic, hilarious, and rewarding way I could’ve hoped for.