DC’s The Flash (2023), directed by Andy Muschietti, is a cinematic whirlwind of speed, heart, and multiversal mayhem. At its core, the film is a love letter to Barry Allen’s (Ezra Miller) emotional journey, but it’s the climactic time travel sequence—where Barry and his younger self attempt to save Supergirl (Sasha Calle)—that demands scrutiny. This sequence, a dizzying blend of ambition and restraint, encapsulates the film’s strengths and stumbles, raising questions about narrative clarity, temporal logic, and the elusive "four Flashes" paradox. As a critic, I find this moment both exhilarating and frustrating, a microcosm of The Flash’s bold yet flawed execution.
The Setup: A Hero’s Desperate Leap
The sequence begins after multiple failed attempts to defeat General Zod (Michael Shannon) in an alternate 2013 timeline, where Supergirl repeatedly dies. Barry, our Present Barry, teams up with Past Barry—a wide-eyed, powerless version of himself who gains speedster abilities through a recreated chemical accident. Their mission: travel back in time via the Chronobowl (a visually stunning Speed Force construct) to save Supergirl and restore the timeline. It’s a high-stakes premise, but the film’s handling of this pivotal moment is where the gears of ambition start to grind.
From a narrative standpoint, the sequence is emotionally charged. Miller’s dual performance as Present and Past Barry is a highlight, with Present Barry’s weary determination contrasting Past Barry’s naive enthusiasm. The repeated failures to save Supergirl—each attempt ending in her death—hammer home the concept of “fixed points,” a time travel trope where certain events are immutable. This resonates thematically with Barry’s struggle to accept his mother’s death, making the sequence more than just a flashy action beat. Yet, the film’s reluctance to fully embrace its temporal complexity, particularly the potential for “four Flashes,” feels like a missed opportunity.
The “Four Flashes” Paradox: A Logical Conundrum
A fascinating wrinkle emerges when considering the time travel mechanics. When Present Barry and Past Barry leap back to save Supergirl, they enter a timeline where their earlier selves already exist. Logically, this should result in four Flashes: the time-traveling Present Barry, the time-traveling Past Barry, and the original Present and Past Barrys from the timeline they’re entering. This “four Flashes” scenario, while not explicitly shown, is a tantalizing implication of the film’s rules, which blend multiverse branching with fixed-point inevitability.
As a critic, I appreciate the theoretical elegance of this setup. It aligns with comic book precedents like Flashpoint, where Barry’s meddling creates cascading paradoxes. However, The Flash sidesteps visualizing this quartet, focusing solely on the time-traveling duo. This decision, likely made to avoid overwhelming casual viewers, sacrifices depth for accessibility. Imagine the visual and narrative payoff of seeing four Barrys interact—perhaps clashing over strategy or grappling with their duplicated identities. Instead, the film keeps the earlier Barrys off-screen, a choice that streamlines the story but flattens its potential.
The introduction of the “Dark Flash”—a third, battle-scarred Barry revealed as a future Past Barry—hints at the multiplicity of Barrys across timelines. This twist, while gripping, arrives too late to fully explore the “four Flashes” idea within the Supergirl sequence. Muschietti’s restraint here feels like a concession to mainstream audiences, but it leaves fans of temporal puzzles (and comic book purists) wanting more.
Technical Brilliance, Narrative Blur
Visually, the Supergirl time travel sequence is a triumph. The Chronobowl, with its kaleidoscopic montage of past events, is a creative leap beyond the speedster visuals of Justice League or CW’s The Flash. Cinematographer Henry Braham uses dynamic camera work to capture the frenetic energy of Barry’s runs, while the 3D format (a nod to the film’s 3D Blu-ray appeal) adds depth to Supergirl’s aerial battles. John “DJ” DesJardin’s VFX team deserves praise for rendering the timeline’s collapse, with glitching realities and fading heroes evoking a sense of cosmic dread.
Yet, the sequence’s pacing falters. The rapid cuts between failed attempts to save Supergirl create a sense of futility but blur the emotional weight of each death. Calle’s Supergirl, though magnetic, is underutilized, her sacrifices feeling more like plot devices than character-driven moments. The score by Benjamin Wallfisch swells appropriately, but it can’t fully compensate for the rushed storytelling. As a critic, I yearn for a longer beat—perhaps an extra minute of dialogue between Barrys or a quieter moment with Supergirl—to ground the chaos.
Thematic Resonance and Missed Opportunities
Thematically, the sequence shines by tying Barry’s time travel to his personal growth. His realization that Supergirl’s death, like his mother’s, is a fixed point forces him to confront the limits of his power. This mirrors classic Flash stories, where speedsters learn that running faster can’t outpace fate. The sequence also sets up the film’s multiversal cameos (no spoilers here), which delight but distract from Barry’s arc.
However, the “four Flashes” omission underscores a broader issue: The Flash struggles to balance its comic book roots with blockbuster demands. The film wants to be both a cerebral time travel saga and a crowd-pleasing superhero romp, but it leans too heavily on the latter. A braver script—perhaps one penned by comic veterans like Grant Morrison—might have leaned into the paradox of multiple Barrys, using their interactions to explore identity, choice, and consequence.
The Verdict: A Near-Miss Masterpiece
The Supergirl time travel sequence in The Flash is a microcosm of the film’s highs and lows: visually dazzling, emotionally potent, but narratively cautious. The “four Flashes” concept, while implied, is a missed chance to elevate the sequence from great to iconic. Muschietti and Miller deliver a spectacle that honors Barry Allen’s legacy, but the refusal to fully embrace the temporal complexity leaves a lingering “what if.”
For fans, the sequence is a thrilling ride, especially in 3D on a home theater setup (check Vudu or 3D-HD.CLUB for legal downloads). For critics, it’s a reminder that ambition requires courage to match. The Flash runs fast, but it doesn’t always run deep. Here’s hoping a sequel—or a director’s cut—lets all four Flashes share the screen.
What are your thoughts on The Flash’s time travel? Did you spot the “four Flashes” logic, or do you have other favorite moments? Sound off in the comments!