'Supergirl' Review: Jason Momoa's Lobo and Milly Alcock Stand Out in Uneven DC Epic
Milly Alcock's debut as Kara Zor-El offers glimpses of what could become a compelling future for the DC Universe, but Supergirl struggles to capitalize on its strongest assets, resulting in a film that often feels frustratingly ordinary.
Supergirl features standout turns from Milly Alcock and Jason Momoa, but an uninspired plot limits the film's impact.
Director Craig Gillespie's adaptation draws heavily from the 2021 comic series Supergirl: Woman of Tomorrow. The story follows Kara years after settling on Earth, though she remains haunted by the destruction of Krypton and the loss of everything she once knew.
Warner Bros.
Unlike Superman, who was raised on Earth by loving adoptive parents, Kara experienced the collapse of her world firsthand. That trauma shapes her outlook, leaving her more cynical and emotionally scarred than her cousin Kal-El.
The film's most effective sequences explore that pain through flashbacks set in Argo City, Krypton's doomed floating colony. These moments carry a sense of personal and collective tragedy, with Kara resisting her parents' decision to send her away before disaster strikes.
Unfortunately, the film spends relatively little time on this material. Instead, it launches into a sprawling interplanetary revenge story that recalls elements of westerns, action thrillers and post-apocalyptic adventures.
On the planet Holzherr, where a red sun neutralizes her powers, Kara attempts to dull her emotional wounds by drinking and immersing herself in music culture. It is there that she crosses paths with Ruthye, a determined 13-year-old seeking vengeance.
Ruthye's life is shattered when Krem and his Brigands attack her family, murdering her parents and brother. Armed with a treasured family sword, she embarks on a mission to hunt down the killers and repeatedly presses Kara to help.
Kara eventually agrees, motivated not only by sympathy but also by necessity after Krem steals her spacecraft and poisons Krypto using a tranquilizer that will kill the dog within three days unless an antidote is found.
The resulting journey sends Kara and Ruthye across multiple planets, where they encounter space pirates, outlaw settlements and morally compromised allies. Despite the constant movement, the narrative often feels surprisingly slow.
One recurring issue is the film's heavy reliance on bizarre alien creatures and generic action encounters. While the stunt work is impressive and Claudia Sarne's score maintains momentum, many of the battles lack urgency and emotional impact.
The film receives a welcome boost whenever Jason Momoa's Lobo enters the picture. Introduced as an immortal bounty hunter with a cigar, a flying motorcycle and considerable attitude, Lobo emerges as one of the movie's most entertaining elements despite limited screen time.
Meanwhile, Matthias Schoenaerts' antagonist Krem remains underdeveloped. Although visually distinctive, the villain is never given sufficient depth to become truly memorable.
Alcock consistently anchors the film with a performance that captures Kara's toughness, grief and chaotic spirit. Her evolving sense of justice suggests significant promise for future DC installments.
Yet the film ultimately falls short of fully realizing the emotional bond between Kara and Ruthye. Given Gillespie's track record with films like I, Tonya and Cruella, that missed opportunity is especially surprising.
Questions also linger about whether the final cut removed important connective material, with certain story beats and character moments feeling incomplete.
Commercially, the new Supergirl is expected to fare better than the 1984 film. However, audiences invested in the wider DC Universe may leave feeling that this chapter serves more as an interim adventure than a truly defining superhero event.
