Home » Christopher Reeve’s youngsters haven’t watched that Flash cameo

Christopher Reeve’s youngsters haven’t watched that Flash cameo

by Manilla Greg
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Christopher Reeve’s Superman costume

Christopher Reeve’s Superman costume
Photo: Ian Walton (Getty Images)

Andy Muschietti’s The Flash famously featured a bizarre parade of CG-heavy superhero cameos close to the top (separate from the non-CG however equally bizarre superhero cameo on the very finish), together with Nic Cage in a quick nod to the scrapped Superman Lives film he developed with Tim Burton one million years in the past and somebody who is unquestionably not Teddy Sears from the Flash TV present operating by as one of many different folks known as the Flash in DC’s comics. One of essentially the most stunning cameos, although, is shot of Christopher Reeve’s Superman—recreated with computer systems 19 years after the actor’s loss of life.

Now, whereas showing on the Sundance Film Festival, Reeve’s youngsters have shared a brief response to their father’s Flash cameo—which is to say that they’ve pointedly not reacted to it. As reported by Variety, Reeve’s youngsters (Will, Matthew, and Alexandra) mentioned that they haven’t seen The Flash and in addition that they didn’t have any involvement in making the cameo occur, seemingly implying that they didn’t log out on it or approve of it.

Will Reeve additionally famous that, when you had been to ask their father what function he was essentially the most pleased with at this time, he would say Remains Of The Day slightly than Superman. Even although it wasn’t a giant function, he mentioned his dad was at all times comfortable he was capable of present a “fully totally different facet of himself” in that film.

The trio had been at Sundance to advertise Super/Man: The Christopher Reeve story, a brand new documentary about their father that’s searching for distribution. They instructed Variety that the movie is a “lovely reward,” because it provides them an opportunity to revisit their father’s life “in its totality,” together with “the highs and lows, the general public facade and what’s occurring at dwelling.”

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