With last year’s Superman (2025), James Gunn and Peter Safran’s grand reboot of the DC Universe (DCU) launched with a strong foundation. Written and directed by Gunn himself, the film was praised for returning to the hero’s optimistic roots, David Corenswet’s breakout performance, and a sturdy emotional core that set it apart from the current state of the superhero genre, which often suffers from apathy. In the year since then, however, the DCU has been fighting an uphill battle: between the looming threat of the Paramount-Warner Bros. merger, the “Reevesverse” Batman dilemma, and some MCU-style growing pains already exposing the cracks, as seen in Peacemaker Season 2. In the midst of diminishing fan returns, here comes Supergirl (2026).
The once-logical next step after Superman is now arriving in theaters with heavy baggage. Along with the usual scrutiny from the misogynistic culture war that almost every female-led comic book film has attracted, this also bears the burden of proving to audiences that the DCU is a viable franchise. Unfortunately, despite Gunn and Safran’s promise of a director-driven, character-first approach (in opposition to the Marvel Cinematic Universe’s “house style”), Supergirl suffers from the same blandness that has plagued so many middle-of-the-road superhero movies. It may be watchable, but between a fantastic leading performance from Milly Alcock (House of the Dragon, Netflix’s Sirens) and the beloved source material, the unrealized greatness is what hurts this DC adaptation the most.
Milly Alcock is an A+ Supergirl in a C-Level Adaptation
Loosely based on Tom King’s original comic, Supergirl: Woman of Tomorrow, viewers follow Kara Zor-El (Milly Alcock), the hard-drinking, cynical cousin of Clark Kent/Superman, on her 23rd birthday. During one of her party-girl benders under a planet with a red sun, Kara meets the innocent but vengeful Ruthye (Eve Ridley), a young girl on a revenge quest to kill Krem (Matthias Schoenaerts), the ruthless leader of the Brigands. When Krem poisons Krypto the Superdog, Kara and Ruthye are forced to team up on a galactic road trip to avenge Ruthye’s parents and find a cure for Kara’s loyal companion. Along the way, Kara must confront her past and discover her greater purpose as a protector.
Pulling from Woman of Tomorrow was a striking choice for a film adaptation, showing audiences a different interpretation of Supergirl than they might be familiar with and providing a unique foil to Corenswet’s boy-scout Superman. It’s genuinely refreshing to see this version of Kara on screen, as Supergirl is bravely uninterested in toning down her flaws and eccentricities. Yet, Kara is still a lovable character, and Milly Alcock slips so comfortably into the role. Alcock gives Kara pathos and a razor-sharp edge that carries the entire movie, sometimes even doing the heavy emotional lifting that the writing and directing fail to deliver. I hope to see Alcock shine in a film more worthy of her talents in the future.
Strong Narrative Bones and Zero Energy to Match It
Utilizing the skeleton of Tom King’s Woman of Tomorrow was a double-edged sword for this adaptation, as there is not a single moment in Supergirl that is as maximalist, aesthetically interesting, or thematically satisfying as its source material. In truth, most comic book films are thin and loose adaptations. However, Supergirl borrows so many significant plot elements from King’s comic that it can’t help but beg for the comparison. Fans may find themselves frustrated with even the smallest changes and deviations. It doesn’t help that the movie makes all these cosmic locations look drab and lifeless, shooting for a rusty, punk-rock take somewhere between Star Wars and Guardians of the Galaxy. It couldn’t be more off target, though.
Supergirl is so risk-averse that it’s hard to say whether director Craig Gillespie, best known for I, Tonya (2017), Cruella (2021), and Dumb Money (2023), was a poor match for the material or if there was some amount of creative meddling here. Gillespie’s previous works (which similarly feature complex heroines) have an in-your-face, trashy energy to them that would probably have been welcome in the context of this specific take on Supergirl.
Instead, this is a movie that never quite exceeds the speed limit, delivering action sequences and spectacle in a way that feels obligatory rather than confident and assured. When Jason Momoa’s Lobo (who is present, for some reason) takes over during key action beats, it calls to mind how much the film is struggling with an identity crisis.
James Gunn and Peter Safran Fail to Set Up ‘Supergirl’ For Success
Is this a cool neo-space western? Is this a grounded character study? Is it a flashy space opera? Supergirl never seems to commit to anything. Ana Nogueira‘s script prefers to sheepishly flirt with all these tones rather than balancing them. The main conflict of Supergirl also feels strangely disconnected from Kara herself. Notably, Captain Marvel (2019) had a similar problem, where all the most compelling character development occurred in flashbacks. It’s not that these heroines are hollow; it’s just that we rarely see them make choices that shape who they are in the present storylines of their films. Honestly, it’s maddening how little the creatives learned from the past mistakes of other female-driven comic book movies.
If that emotional core was there, a lot of the issues with Supergirl would have been easier to forgive. After all, there are plenty of other superhero films that have gotten away with uninteresting villains, uninspired direction, and shallow spectacle. But that, in itself, exposes a lack of foresight in Gunn and Safran’s DCU. Even with the unforeseen obstacles, their lack of commitment to the first project in the franchise that wasn’t helmed by Gunn is disappointing and not at all exemplary of the anti-MCU approach that was promised. If the producers were as invested as Milly Alcock herself was in ensuring that Supergirl was the best movie it could be, the quality would speak for itself.
It’s far from the genre’s worst, especially within the standards of what the DC franchise has delivered in the past, but Supergirl deeply suffers from not knowing how to build a film around its iconic heroine.
★ ★ ½
‘Supergirl’ hits theaters on June 26!
Release Date: June 26, 2026.
Directed by Craig Gillespie.
Screenplay by Ana Nogueira.
Based on DC Comics.
Produced by James Gunn & Peter Safran.
Executive Producers: Pete Chiappetta, Nigel Gostelow, Andrew Lary, Chantal Nong Vo, Anthony Tittanegro, & Lars P. Winther.
Main Cast: Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, David Corenswet, Jason Momoa, Ferdinand Kingsley, & Diarmaid Murtagh.
Cinematographer: Rob Hardy.
Composer: Claudia Sarne.
Editors: Tatiana S. Riegel & Fred Raskin.
Production Companies: DC Studios, Troll Court Entertainment, & The Safran Company.
Distributor: Warner Bros. Pictures.
Runtime: 108 minutes.
Rated PG-13.
