"We did a lot of improvising that led to the scenes being longer than expected," Muschietti told Collider. The Flash marks an ending of sorts for DC's Extended Universe, a decade-long run of films – from 2013's Man of Steel through the ill-fated likes of 2022's Black Adam – that never quite found their popular groove next to the competition at Marvel. The long-delayed project also has the misfortune of arriving right on the heels of Spider-Man: Across the Spider-Verse, a movie that took on similar ideas with the kind of artistry that makes Muschietti's film look like a relic of another, best-forgotten era. It's a potentially fascinating playground in the right creative hands, but DC's The Flash, directed by Andy Muschietti ( It It: Chapter Two) and headlined by troubled star Ezra Miller, struggles to stir up the inventiveness and charm required of the task. We're now at the point in the superhero movie cycle where the villains are being upstaged by the franchises' existential crises – those ongoing brand management dilemmas that invariably play out on screen via some iteration of the multiverse.
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