One of the big hurdles to the Supergirl character is that she is always defined by her cousin, Superman. This isn’t just a problem for Kara Zor-el to grapple with, but every adaptation in every format has to deal with it, too. It places the character in a position that is perceived to be inferior right from the start. One of the greatest ambitions, and biggest successes, of the new Supergirl film from DC Studios is how it breaks that cycle, with Milly Alcock giving us a superhero who doesn’t pretend or even want to be like her more famous Kryptonian cousin. Instead, she’s been forged by traumatic factors that he never had to deal with. While the film has its share of issues, defining this Supergirl for a new generation isn’t one of them.
Directed by Craig Gillespie, who previously helped Disney turn Cruella De Vil into a sympathetic figure, Supergirl is based on the Supergirl: Woman of Tomorrow storyline by Tom King and artist Bilquis Evely. The film is a lot like its heroine; a bit sloppy, all over the place, stumbles a lot, but ultimately has its heart in the right place. The opening minutes find Kara partying hard across the galaxy to celebrate her 23rd birthday, only on planets with a red sun so she can feel the intoxicating effects of the copious amounts of liquour she chugs. By her side at all times is her loyal pup, Krypto, who is even more unruly than he was in last year’s Superman. The two are like peas in a pod. David Corenswet suits up as Superman, but is mostly seen on video screens hoping to connect with the only family he knows, and finding that she isn’t really interested.
Supergirl also introduces one of the better recent DC Comics villains on the big screen, Krem of the Yellow Hills, played by Belgian beaut Matthias Schoenaerts, who has been made pretty hideous for the role. We first meet Krem as he and his Brigands invade the home of Ruthye Marye Knoll, a young girl played by Eve Ridley, and murder her entire family in cold blood. Seeking vengeance, Ruthye takes up the family sword on a quest to find Krem, but she can’t do it alone. She needs help pretty severely, and that’s where Kara comes in.
In true John Wick fashion, it’s an attack on Krypto that convinces Supergirl to go after Krem, with Ruthye in tow. Together, they traverse the ugliest corners of the cosmos, which looks an awful lot like the one created in James Gunn’s Guardians of the Galaxy. There’s a roughness to it, a cruelty, as seen by the Brigands who kidnap women to be sold as brides, or used for their own enjoyment. This is way uglier, way more personal than Lex Luthor just trying to rule the Earth.
In keeping with the film’s grittier tone, flashbacks show us the destruction of Krypton from Kara’s perspective. For Superman, Krypton is a planet he never actually got to experience; it’s this thing he can envision for all of its ideals. For Supergirl, she lived long enough to spend time with her parents, to experience the Kryptonian culture as part of a safe haven known as Argo, to feel the love of its people, and to see it all waste away. She’s very different from Superman as a result; less hopeful, more cynical, less confident in herself.
And then there’s Jason Momoa as Lobo. One of Supergirl’s biggest problems is the screenplay by Ana Nogueira, which lacks humor and is heavy-handed at the worst times. The only exception is Momoa’s Lobo, the immortal, cigar-chomping intergalactic bounty hunter who crosses paths with Supergirl and Ruthye, bringing nothing but chaos, destruction, and one-liners. Lobo’s role isn’t huge, but whenever he’s around the film is a lot more fun and way more energetic. You can tell Momoa, who wanted to play Lobo long before he was ever Aquaman, is having the time of his life. The character is expected to reappear in Gunn’s Superman: Man of Tomorrow, in what will hopefully be many appearances on the big screen.
Gillespie is a solid director, but flash and sizzle have never been his strength. Supergirl could’ve used a more experienced hand when it comes to the action, which is pretty forgettable throughout. I’m reminded of when David Leitch of Atomic Blonde and Bullet Train fame, was called in to help punch up the stunts in DC film Birds of Prey. This film could’ve used some of that kind of help.
Fundamentally, Supergirl is a very different movie from Superman, as it should be. Alcock steals every scene, giving us a Kara who has been shaped by trauma. She is angry, terrified, lonely, reckless, stubborn, and isn’t always sure what doing the right thing is. She is a hero who hasn’t quite figured out what being a hero means. In another way, Supergirl and its protagonist are very similar in that they are both sort of finding their way. Supergirl has a great central character, an amazing star in Alcock, but a more compelling story is what it needs to thrive the next time we see her. Hopefully, we will get that chance.
Supergirl hits theaters on June 26th.
