Supergirl

Director: Craig Gillespie
Starring: Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, David Corenswet, Jason Momoa, Ferdinand Kingley, Diarmaid Murtagh, Clara Rosager, Heather Agyepong, Alice Hewkin, Paul Hunter
Running Time: 108 min.
Rating: PG-13

★★★ (out of ★★★★)   

If Craig Gillespie's Supergirl seemed like it never stood a chance, it wasn't due to quality, but the realization everyone had already made up their minds. And even if a standalone film centered around this character was always considered a tough sell for DC, the hostility still stung. Whether it was complaints about casting, its script or nearly any other aspect of a picture no one yet laid eyes on, financial failure gradually became inevitable. So despite the enthusiastic reception Supergirl's cameo got at the end of 2025's Superman, skeptics' knives were sharpened a while ago  

It's never a good sign when your interest in a project rests on finding out whether it really is as bad as everyone says. And considering all the venom spewed in its direction, you can't help but think it must be. But that's the thing with Supergirl. There are no "correct" versions of her, just varying incarnations of a character that needs constant reinvention to stay relevant. This is the latest, and though she's a mess, the movie isn't, as writer Ana Nogueira sets her on a journey to move past the pain and find some version of "home." Clocking in at just under two hours, it has a clear mission and equally strong execution, making for a fun, breezy watch that's superior to lot of the underwhelming superhero fare it's accused of resembling.   

Growing up on Argo City, Kara-El (Alcock) was raised by scientist father Zor-El (David Krumholtz) and mother Alura In-Ze (Emily Beecham) after they fled their destroyed planet of Krypton. But when the citizens of Argo suddenly start dying from the effects of Kryptonite, Zor-El sends Kara and her dog Krypto on a ship to Earth, where they're taken in by her cousin Kal-El/Superman (David Corenswet). Now on the eve of her 23rd birthday, Kara spends most of her time planet hopping and getting drunk, much to Superman's concern. 

Partying on the planet Holzherr, Kara encounters young Ruthye Marye Knoll (Eve Ridley), who seeks vengeance on the Krem of the Yellow Hills (Matthias Schoenaerts) for brutally murdering her family. Initially, Kara dismisses Ruthye's pleas for help, at least until Krem shoots Krypto with a poisoned dart. Desperate to locate Krem and the antidote to save Krypto, Kara reluctantly takes Ruthye along as they face numerous obstacles, like a cocky bounty hunter named Lobo (Jason Momoa) who has a score of his own to settle with the Brigands. But as Krypto's life hangs in the balance, Kara and Ruthye must somehow move beyond their traumatic pasts to help each other. 

Rather than digging into Kara's origin story right away, it's inserted into the film's middle section, allowing for a more memorable, attention grabbing introduction. And given her bratty, wisecracking attitude, the rebellious Supergirl does immediately leave a lasting first impression. That the script's adapted from Tom King and Bilquis Evely's beloved comic book series, Supergirl: Woman of Tomorrow sets the bar high, but producer James Gunn picked the right actress in Alcock, who successfully captures an unconventional version of the character most haven't been exposed to. 

Apathetic and perpetually hung over, Kara wears a brown duster, sunglasses and a Blondie tee in place of that iconic suit for most of the running time. But it works, largely because it's a welcome departure that temporarily frees us from your usual superhero tropes. Just as Melissa Benoist wouldn't copy what Helen Slater did or Sasha Calle didn't pattern her performance after Benoist's, no Supergirl can fill the other's shoes. It's apples to oranges when we debate our favorites, each of whom personified a version of the role that suited their story's specific vision. So in this sense, Alcock fits right in, carrying on the tradition of being different from whoever came before.

Alcock does have a tight rope to walk in depicting a Kara who appears to be the polar opposite of her altruistic cousin, but still likeable enough to really root for. And her explanation that Superman sees the best in everyone when she sees "the truth," is a great line made better by the actress's dry, matter-of-fact delivery. But if Kara's recklessness and pessimism seems understandable once we recognize it as survivor's guilt, an even angrier Ruthye is hellbent on revenge, despite the further emotional scarring it'll bring. Of course, Kara's recognition of that and the begrudging willingness to take this girl under her wing suggests a bit more of Clark in her than she's willing to admit.

Cinematographer Rob Hardy's grungy, brownish, hue has drawn considerable comparisons to Mad Max, but Gillespie's entire approach is more reminiscent of Star Wars, as there's definitely a Mos Eisley cantina vibe to the bar scenes and a thrilling mid-air sequence featuring a plethora of alien species. As for all the complaints about its effects, they're surprisingly strong, even as the digitized Krypto has you wondering if they'd be better off casting a real dog. Doing that comes with its own set of challenges, but considering he spends most of this film asleep on a gurney, now was probably the time to do it. There's just something to be said for a pet owner's connection to their dog that can't be replicated with CGI stand-in.   

Alcock and Ridley share natural big sis/little sis chemistry throughout, but when Kara's incapacitated, the latter actress proves herself capable of carrying the load alone with spunk and vigor. It also doesn't hurt that Schoenaerts' Krem makes for a formidably menacing villain who gets just the right amount of screen time to make an impact. And while many already believed the charismatic Momoa was born to play Lobo, his turn as the vicious but cool anti-hero supports that theory, stealing every scene he's a part of. Corenswet's effectively used as the Man of Steel, mostly because Gillespie doesn't get bogged down by it, wisely incorporating him in key spots to emphasize Kara's past and present. 

Kara slipping into the suit for the action packed final act carries weight because it feels earned by a simple story told well, which in this frequently overcomplicated genre, shouldn't be dismissed. Lacking unnecessary sub-plots, distracting DCU crossovers or anything else that shifts the focus, it's briskly paced and efficiently constructed, creatively eclipsing this summer's The Mandalorian and Grogu and The Masters of the Universe. Unfortunately, Supergirl had people rooting against it in ways those other two didn't. Maybe now with more time and distance, this gets another look, and a renewed appreciation for all it gets right.