Dir: Craig Gillespie
Cast: Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, David Corenswet, Jason Momoa
The latest DCU instalment has its moments, especially thanks to Milly Alcock, who infuses her Kryptonian heroine with undeniable swagger. Sadly, the fresh energy of the first half fades as the story slips into predictable comic book territory
Anyone who has followed me for a while knows that comic book movies have never been my cup of tea. While I can see their significance in cinema, the sheer flood of these films has left the genre feeling tired and formulaic. Still, there was an era when comic book movies reigned supreme, thanks in large part to the careful world-building and planning behind the Marvel Cinematic Universe. Until the global phenomenon that was “Avengers: Endgame” in 2019, Marvel ruled the box office year after year.
Marvel’s runaway success inevitably pushed its competitors to chase after sprawling universes of their own, each studio eager to build a cinematic empire packed with heroes and villains. DC, Marvel’s age-old rival both on screen and in print, has had its moments—think the many faces of Batman or the iconic Christopher Reeve Superman—but has struggled to keep pace in recent years. The DC Extended Universe, steered by the polarizing Zack Snyder, stumbled despite a few box office wins, finally crashing with the chaotic mess that was “The Flash” in 2023. This disaster sparked a total shake-up at DC, bringing in Marvel’s own James Gunn, the creative mind behind “Guardians of the Galaxy”, who inexplicably switched allegiances.
The freshly rebooted DCU launched last summer with a new take on “Superman”, this time starring David Corenswet in place of Henry Cavill. I could see Gunn’s fingerprints all over it—the brisker pace, the splash of wild humour, the bold visuals—but I was not as swept away as many others seemed to be. That lukewarm reaction left me wary as I headed into the universe’s second chapter, “Supergirl”, which I caught on opening night this weekend.
Supergirl, much like her famous Kryptonian cousin, has soared across screens many times, but this time she is brought to life by Australian actress Milly Alcock. She makes her entrance at the end of “Superman”, arriving to reclaim her devoted super-dog Krypto, who has been under Clark Kent’s watch while she was off-world. The heart of “Supergirl” beats in the bond between Kara Zor-El and Krypto, as the steadfast dog follows her from world to world to mark her 23rd birthday. Still haunted by the loss of her home city, Argo, Kara struggles to find her place on Earth. She grows distant, plagued by homesickness, dodging calls from her cousin Superman and seeking solace in alien bars on worlds where the lack of a yellow sun offers her no strength.
Kara’s interplanetary birthday revelry comes to an abrupt halt when a determined young girl, Ruthye (Eve Ridley), pleads for her help to avenge her family’s murder at the hands of the ruthless brigand Krem of the Yellow Hills (Matthias Schoenaerts). Kara, at first reluctant, is thrust into action when Krem wounds Krypto with a poisoned dart, giving her just three days to chase the villain across the galaxy and secure the antidote.
I went into my Friday night screening with low expectations, but the first half of this brisk superhero adventure genuinely surprised me. Although Gunn did not direct this second DCU outing, his signature style lingers as he guides the creative vision from behind the scenes. Director Craig Gillespie brings the same spark and energy he showed in “I, Tonya” (2017) and “Cruella” (2021), propelling Kara on a galaxy-hopping quest. The film’s visuals, imaginative world-building, and striking creature designs pull you in, expanding the universe far beyond the Earth-bound setting of the last instalment. By delving deeper into Kara and Kal-El’s Kryptonian roots, we see how their shared tragedy shaped them into polar opposites.
Unlike Superman’s sunny, almost naïve optimism, Supergirl is jaded, her losses leaving her distant from humanity and content to celebrate her birthday with only Krypto for company. Milly Alcock breathes new life into Kara, exuding a cool, effortless swagger that makes the character pop. She nails the snappy, Gunn-inspired dialogue from Ana Nogueira‘s script and completely owns the rumpled trench coat look before finally donning the iconic blue and red suit in the final act. It’s a shame, though, that Alcock’s strong start is undercut by a second half that slips into tired superhero tropes, undoing much of the film’s early promise. Jason Momoa‘s motorcycle-riding Lobo barely registers, adding little to the story and even distracting from Supergirl’s journey. Still, Momoa is at least more memorable than the bland villain, a generic baddie who could have wandered in from any DCU film. Despite his role as an intergalactic human trafficker, he is so thinly drawn that it’s hard to muster any real hatred for him. Supergirl is so powerful that the film has to keep inventing ways to weaken her; otherwise, no villain—especially this one—would stand a chance.
I also struggled with Ruthye’s character, whose impact as a supporting protagonist is dulled by Eve Ridley’s underwhelming performance. While she is still new to the industry, plenty of young actors have shown that age is no barrier to delivering powerful performances. Unfortunately, Ruthye’s emotional moments fall flat, making her revenge quest feel like a distraction from the far more compelling story of Kara racing to save Krypto.
The soundtrack, usually a highlight in Gunn’s projects, also left me cold. The film tries to channel the eclectic energy of “Guardians of the Galaxy” through its song choices, but most tracks are forgettable and lack the punch Gillespie likely aimed for. One song in particular stood out for all the wrong reasons: an awkward acoustic cover of Jimmy Eat World’s “The Middle” blares over the climactic action scene. This jarring choice not only missed the emotional mark but actually pulled me—and others—out of the moment, with some audience members even laughing during what should have been a jaw-dropping finale.
Honestly, I went in with low expectations, and overall, this is a serviceable but messy and forgettable second chapter in a DC universe whose future is still up in the air. With superhero fatigue setting in, James Gunn will need to pull out every trick in the book if he wants the DCU to rise to the top of Hollywood’s franchise heap.
Supergirl is now showing in UK Cinemas
Dan Loves Film 
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