The story pivots on Barry Allen's (Miller) unwise decision to travel back through time to the events at the inflection point after which his life was (he believes) irreparably destroyed: his mother's murder and his father's conviction for it. Despite dire warnings from Bruce Wayne (Ben Affleck) about messing with timelines, he goes back, and finds himself stranded in another reality alongside a happier, goofier version of himself. The intricacies of the narrative remove Clark Kent/Superman from the world, make the invading General Zod even more dangerous, and compel the dual Barry Allens to seek out the alternate world's mostly retired Batman, played by Michael Keaton for the first time since he starred in Tim Burton's Batman Returns in 1992.

There's a great deal to like about The Flash, and despite their troubled behavior of late, Miller brings a light, modern neurosis to Barry that makes him quite charming. On top of that, they're able to make Barry's pain relatable and real. The affectations Miller chose for Other Barry, sadly, are more grating, and personal tolerance for that brand of obnoxious "comedy" will dictate how funny one finds it. Keaton is suitably jaded, and 1980s-'90s Batman fans will find his performance something of a warm blanket: familiar and cozy. But it's Sasha Calle as Superman's cousin, Kara Zor-El, that injects the film with real drama, and it's a shame Hodson and Muschietti didn't give her more to do.

As much as everyone is talking about Miller's issues, just as much ink has been spilled discussing the "secret cameos" and "surprise stingers" that Warner has bent over backwards to keep hidden in preview screenings. We don't know what they are: They turned the film off before the credits. What can be reported, however, is that none of those Easter eggs and fan service (and there's a lot of it in The Flash) matter all that much when they're barely visible. In a film that opens with great promise - the hospital rescue scene is truly awesome - it's baffling that the central clash of worlds is so murky, undefined and shoddy. That's what Warner should have hidden from critics.