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Sometimes it is just obvious from the first moment you watch an actor that you know they just have what it takes. If the first time you saw Milly Alcock was when she crash landed in last year’s “Superman” for a quick intro it was clear the actor just understood the character. With only a few lines and even shorter screentime Alcock as Kara Zor-El the Kryptonian cousin of Superman made audiences want more. That more in comic book world isn’t something one has to wait long for, as while James Gunn was setting up his new DC Universe (basically giving the world building a much-needed restart) he made sure to let us know that a Supergirl film was up next and that the titular hero was to play a major part in whatever Gunn and producer partner Peter Safran have in store. SUPERGIRL directed by Craig Gillespie feels less a continuation of 2025’s “Superman” (not a bad thing!) and more something that feels like it wants its own voice, but whose major kryptonite is a hacked to death film that plays more like an afterthought than a fully fleshed plan. The comic book genre is already struggling with mega powerhouse Marvel Studios not being able to deliver a hit with every new film as well as television shows becoming homework to understand universes and instead falling to the waste side. “Superman” wasn’t the giant hit Warner Brothers needed but it was more than enough to build curiosity and best of all deliver a pitch perfect cast especially in lead David Corenswet. One could argue for better or worse SUPERGIRL accomplishes the same success (financial rewards to be determined). SUPERGIRL for all its many issues can never bring down its lead star who is the reason the casting department has deserved Oscars for decades. A film that wants to strip down some of the biggest epics that have defined the genre for some time focused on McGuffins like Infinity Stones and what not. But it delivers a script so bare bones that you must wonder how much was chopped off in the editing room. It doesn’t help that Supergirl’s greatest enemy isn’t some monster or internal dilemma but rather a studio for hire director that feels to hit all the check notes that Gunn likes with none of the success. For some Alcock’s beautiful interpretation of the character will be enough but if these superheroes are supposed to win the fight, they are going to need more backup.

Celebrating your birthday alone may seem depressing but if you are doing it with your super dog are you ever truly alone? For Kara (Alcock) being with just her dog Krypto is more than enough. Kara is spending the week of her twenty-third birthday travelling the galaxy in search of parties amongst a weaker yellow sun so she can actually feel the effects of the alcohol. Her Kryptonian strength is not just the perfect beta blocker, but it is a continuous reminder of the family and home planet she has lost. Unlike her cousin Clark she remembers their planet dying and had to stand by her family’s decision to send her away while her mother and father died a slow painful death. It would harden any person let alone someone who believes they could have done more. But for Kara it is easy to just bounce around the galaxy while her cousin waits for her return to Earth hoping she can learn to call Metropolis home. From its opening moments including a killer Sleigh Bells’ needle drop, it is not only clear that optimism is not the name of the game for Kara but the whole Supergirl mantle in itself is something she denies. Alcock is instantly terrific being able to carry this negative realism while still maintaining enough joy for herself that she can convince herself this is a better life than just being a figurehead. It is an intriguing way not to just counteract “Superman,” but also just show that this film is more focused on being a superhero battling themselves versus the world. 

This internal struggle could carry the film with little fanfare, but this is a comic book movie after all and the world or some part of it must always be at risk. Adapted from the acclaimed Supergirl comic run called “Woman of Tomorrow” written by Tom King and illustrated by Biliquis Evely, the run collected into a graphic novel is often praised for its stunning visual and story that is greatly influenced by the western “True Grit.” For the screen the film is adapted by sole writer Ana Nogueria. When Gunn was discussing what was to come next for his DCU he stated that no film would go into production until the script was fully ready. This doesn’t seem to be the case as Nogueira’s writing struggles to find a balance in adapting the “Woman of Tomorrow” main plot points while still holding a story of a hero ready to call it quits. Whether the blame is entirely Nogueira’s fault (it isn’t) is something that can only be known on a production level but once Supergirl kicks in to action mode it is more than clear that the person at the helm is far more to blame. But for its story it doesn’t take long for SUPERGIRL to follow “Woman of Tomorrow.” On her drunken escapades Kara encounters young Ruthye (Eve Ridley) whose family has been brutally murder by the evil Krem of the Brigands (Matthias Schoenaerts). Ruthye is searching for the toughest warrior in the galaxy to help her find Krem so she can kill him. In true old west fashion Ruthye decides on the tough as nails but sober as college frat kid Kara who reluctantly takes on the task. It would be endearing if Alcock and Ridley were able to share chemistry that not only felt connected but balanced. Instead, Ridley’s wooden performance fits more to a young talent who could have a long career ahead but is still in its infantile stage of holding the heavy emotions needed. It doesn’t help that Gillespie seems to enjoy framing the film that barely holds these two in the same image. The film edited like a trailer you’d’ scroll past on TikTok SUPERGIRL’s scenes never feel connected and play so sporadically that you know there must be enough on the cutting floor to fill another movie. Movies being chopped down greatly is nothing new (the film itself is the rare superhero film under two hours) but whenever there is a sense of deep emotions the film cuts away in favor of some truly dull franchise beats. 

These world building moments become clearer than ever in Kara and Ruthye’s encounter with the renegade Lobo (Jason Momoa). Lobo a tough as nails brute with a god complex may be the most tailor-made role ever. Jason Momoa from the moment he came to be has seem destined to play Lobo which would be exciting if it wasn’t just Momoa playing Momoa…again. But every short moment with Lobo feels like shoehorned franchise building that sticks out painfully mainly due to the film’s success of incorporating David Corenswet’s Superman with ease. But this give and take seems to be SUPERGIRL’s best ability. Sprinkled throughout there are moments of real ingenuity but then all these moments feel wasted when director Gillespie seems more focused on getting us to some truly awful visuals whose gray pallet would match a board room’s wallpaper design. 

Even with soulless CGI Kara’s resistance to fight is wonderfully balanced with her need to. Her dog Krypto has been shot with a deadly arrow that only the Brigands hold the antidote for and it is more than easy to believe someone would go to the ends of the world to save their pup. On top of that Nogueira’s script puts Kara in the outlands where young girls are the highest commodity easily putting Kara on the defense to save them with no questions asked. It is enjoyable to see Alcock as Kara play someone who believes they don’t fit in still find themselves having no problem doing good for any world. Emotional flashback scenes involving her father (David Krumholtz) and mother (Emily Beecham) help create the notion that Kara will always do good but even her parents don’t believe one must always be good to accomplish this. It’s a fascinating defense against Superman’s empathetic ideologies. But even when these moments occur, they cut away in favor of needle drops, action sequences edited faster than a music video and rushing past its emotional core in favor of spectacle. “Woman of Tomorrow” may be an acclaimed storyline but if one wasn’t going to attempt any of the bright stunning visuals, they could have at least tried to heighten the weight of character study. 

SUPERGIRL may not be the high-flying adventure to help give DC a back to back success, but once gain it is more than clear that Milly Alcock is the true hero. Alcock as Supergirl has already found her groove in a role that has been at times not the kindest in terms of the storylines they give her. It would be a fair argument that those that played Supergirl over the years have always been stellar but stuck in less than satisfying films and shows. This time around it’s easy to have this blame fall on Gillespie. As a director Gillespie spends his film believing it is satisfying the masses but all of it plays like corporate synergy knowing that once you are in Gunn’s good gracious you never leave. None of this more obvious than in the film’s horrific finale that in its most intense of action sequences settles for a slowed down version of a very famous 2000’s pop punk song. It is a moment that reeks of Guardians of the Galaxy desperation and worst of all the titular hero is barely in the frame. If nothing else it speaks volumes that while all this mess is occurring Supergirl is somewhere else fighting the real battles and keeping things alive. 

C-

SUPERGIRL IS IN THEATERS