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When James Gunn’s “Superman” graced theaters last July, it felt like the comics leapt right off the page, filling the screen with color and life. But “Supergirl” opts for a darker aesthetic, both visually and thematically.

“Supergirl” flies cape-to-cape with “Superman” for most of its nearly two-hour runtime but never soars beyond.

Released on Friday, “Supergirl” is the second film installment of Gunn and Peter Safran’s DC Universe, this time with Craig Gillespie directing instead of Gunn. Starring Milly Alcock as the rebellious but kindhearted Kara Zor-El, or Supergirl, the film touches on heavy themes like substance abuse, grief and human trafficking, though only scratches the surface.

Fueled by large ambitions and exceptional worldbuilding, “Supergirl” is a solid step for the DCU, but underbaked themes and formulaic moments hinder it from being truly noteworthy.

While Gunn claimed “Superman” was the most “comic-book-driven” project he’s worked on, both he and Gillespie confirmed that “Supergirl” is not a direct adaptation of its source material, “Supergirl: Woman of Tomorrow.” The script — which is Ana Nogueira’s first screenplay — is both enhanced and hurt by the creative liberties it takes.

“Supergirl,” which takes place after the events of “Superman,” follows Kara as she parties on red-sunned planets — Kryptonians can’t get drunk around yellow suns — to celebrate her 23rd birthday. While at a pub with her canine companion, Krypto, Kara meets Ruthye (Eve Ridley), a young girl searching for help. Krem (Matthias Schoenaerts), who leads a group of space pirates called Brigands, slaughtered Ruthye’s innocent family, and she’s seeking revenge.

Kara initially refuses to help, but Ruthye shows up at her spaceship the next morning and asks again. While Kara and Ruthye speak and drift away from the ship, Krem and several Brigands find and steal it, shooting Krypto with a poisonous dart.

Because the dart’s paralysis effects give Krypto three days to live, Kara must chase and obtain the antidote from Krem. Kara tells Ruthye to stay behind and look after Krypto, but Ruthye secretly follows Kara and accompanies her on the journey.

From the get-go, Gillespie introduces bleak themes, even for non-superhero movies. Kara seemingly tries to drink away her pain following the eradication of her birthplace, Argo City — which was part of Krypton, Superman’s (David Corenswet) home planet.

In an early scene (reminiscent of the “Inglourious Basterds” and “Rogue One: A Star Wars Story” opening sequences), we see the invasion of Ruthye’s home. Krem steals weapons from her family and then kills them, sparking Ruthye’s thirst for vengeance.

And it’s revealed that the Brigands are trafficking young women to continue their all-male race (similar to “Mad Max: Fury Road”). Nogueira borrows several of these movies’ plot points, but “Supergirl” doesn’t match the quality of the aforementioned films.

I applaud “Supergirl” for tackling heavy topics. Unfortunately, I can’t ignore the film’s overall lack of depth, specifically with the Brigands.

Krem, whose face is covered with scars and metal studs, is a repulsive, terrifying villain — both inside and out — but he’s underdeveloped. We’re given no real backstory on Krem or the Brigands. Additional details would’ve strengthened the movie’s characters and reinforced the real-life importance of the trafficking storyline.

The highlights of “Supergirl” were the flashbacks to Argo City. After Krypton exploded and Superman was sent to Earth via escape pod, Kara’s father implemented a force field around Argo City — the only part of Krypton that was saved. Eight years later, Kara was born.

In “Superman,” Gunn summarized the Man of Steel’s origin story with onscreen text. This was refreshing considering Krypton’s destruction had already been fleshed out in past Superman films. Now, we get a lesser-known origin story, which are some of the best sequences in “Supergirl.”

Gillespie shows Kara first meeting Krypto — who was then a stray — and Argo City’s heartbreaking end. Kryptonite was found in the soil, eventually killing Argo City’s citizens due to radiation. Kara wanted to die with her family, but her father sent a grown Kara and Krypto in a pod to Earth, where they met Superman, Kara’s first cousin.

An incredible juxtaposition is created between Superman and Kara. Superman was sent to Earth to conquer worlds, though he ends up being a protector. Kara’s father wanted her to help those in need, but she’s too consumed by her own trauma to do anything. Superman doesn’t carry the same level of grief because he was just a baby when he left and never witnessed his home getting destroyed, unlike Kara, who experienced her trauma firsthand.

“Supergirl” lacks a truly memorable performance like Nicholas Hoult’s Lex Luthor or Rachel Brosnahan’s Lois Lane in “Superman,” but the “Supergirl” ensemble is satisfactory. Alcock was a great choice to play the titular hero, balancing Kara’s punk-rock and caring attitudes. Jason Momoa was a blast as cigar-smoking behemoth Lobo. And Ridley portrayed Ruthye with sincerity and nobility.

Kara and Ruthye’s relationship felt like a cookie-cutter hero and sidekick dynamic, but it was still incredibly heartwarming. During a video call with Superman early in the film, Kara says she has nobody on Earth. But by the end of the movie, she provides Ruthye with a sense of family by protecting her and giving her advice.

Gillespie’s flick did contain standard fight scenes and an incredibly predictable fate for Krypto — spoiler: he lives — but I credit the film for taking thematic risks and fleshing out DCU’s world.

Despite less than desired ticket sales and ratings, “Supergirl” successfully balances fun and seriousness. In my “Superman” review, I said upcoming DCU projects must show improvements, but I’m not ready to give up hope.

After all, the Marvel Cinematic Universe followed up “Iron Man,” with “The Incredible Hulk” — another worse yet under-appreciated follow-up. The disappointment of “The Incredible Hulk” didn’t stop the MCU from becoming one of the biggest franchises of all time.

“Supergirl” might not have stuck the landing, but it shouldn’t stop the DCU from soaring.

Published on July 2, 2026 at 7:05 pm
Contact Joel: jdpelach@syr.edu