Supergirl, the latest entry in James Gunn's burgeoning DC Universe, arrives in theaters on June 26 with a significant promise: to elevate a familiar superhero narrative with the distinctive directorial touch of Craig Gillespie.
Gillespie, known for films like Cruella and I, Tonya, has a proven track record of breathing fresh life into genre projects. His involvement raised expectations for Supergirl, suggesting a film that could transcend the usual tropes of its category. The casting of Milly Alcock as Kara Zor-El, following her compelling debut in a cameo in Superman, further fueled anticipation. Alcock embodies a delightfully chaotic and reluctant hero, a performance that stands as one of the film's strongest assets.
However, Supergirl often feels like a film divided against itself. For every element it executes well, another falters, creating a rhythm that is difficult to maintain. The challenge of portraying a truly reluctant hero is immense; if the character onscreen lacks investment, it is difficult for the audience to care. Alcock navigates this with skill, presenting a Kara who is undeniably a mess but lacks a discernible character arc. While her journey is fun to watch, she doesn't emerge as a markedly different person by the film's conclusion, a consequence of a story that provides insufficient narrative drive.
This narrative stagnation is particularly evident in Kara's interactions with Eve Ridley's Ruthye, a young woman seeking revenge. Kara initially displays protectiveness, an action that mirrors her stance by the film's end. While this highlights Kara's impact on Ruthye, who receives more substantial character development, it leaves Kara's own journey feeling incomplete.
The film openly embraces its influences, drawing clear parallels to James Gunn's Guardians of the Galaxy, the archetypal Western structure of Tom King's "Woman of Tomorrow" comic run, and the post-apocalyptic aesthetic of Mad Max. The alien designs, practical effects, and costuming are commendable, evoking a world reminiscent of the Mos Eisley Cantina from Star Wars.
Despite these stylistic nods, the execution often lacks impact. The Mad Max elements, particularly a plot point lifted from Fury Road, feel clumsily handled. Instead of Guardians' emotionally resonant music choices, Supergirl opts for slow montages set to a Jimmy Eat World cover, an artistic decision that proves baffling.
Matthias Schoenaerts as the villain Krem of the Yellow Hills presents a striking visual, his design echoing creatures from early Star Wars films. Yet, despite his formidable appearance and the post-apocalyptic biker gang aura, Krem is given little to do beyond affectations. He is neither scary nor particularly formidable, relying solely on implied strength and the fear of others.
Jason Momoa's appearance as Lobo, the anti-hero bounty hunter, is another instance of this dichotomy. Momoa embodies the character with the expected swagger and visual presence, but Lobo's inclusion feels extraneous. His single scene with Kara has the distinct energy of a reshoot, adding little to the plot or Kara's character development. His presence is largely limited to delivering a few entertaining one-liners, ultimately serving as an unnecessary, pandering endorsement of Kara's actions.
Supergirl's narrative struggles extend to its role within the larger DC Universe. While it successfully builds upon the established world, particularly through its scenes with David Corenswet's Superman, the film itself fails to fully flesh out Kara's backstory. The use of flashbacks is structurally questionable, disrupting the narrative flow. More compelling are the glimpses into Kara's childhood on Argo, a city floating in space after Krypton's destruction. This exploration of her past, which subtly reframes Kal-El's origin, feels fresher than the present-day narrative, which leans heavily on borrowed concepts.
Ultimately, Supergirl is a film of contrasts. While Milly Alcock delivers a memorable performance, and the film introduces intriguing elements for the future of the DCU, its own narrative falters under the weight of underdeveloped characters and uninspired influences, preventing it from achieving its full potential.