No spoilers, don’t worry!
Back in 2025, when James Gunn released his take on Superman, I had very high expectations, so I was pleasently proven right. The movie delivered a good and consistent storyline setting up a new chapter of the character without losing the beloved hero we know so well.
Now, a year later, when Supergirl: Woman of Tomorrow hit the theaters, I didn’t have those same expectations. Not for a lack of interest in the character of Kara, on the contrary, because she is such a complex and flawd character, i was afraid that the movie wouldn’t know how to portray her.
She differs from her cousin (Superman), because even though they are related and share the same set of powers, their take in humanity and what it means to belong is very unique to their own experiences. She has a much more pessimistic take on how to fight and who to fight for, and that lack of “heroism” can be hard to translate into screen.
THE KINDNESS OF THE GODS
I believe the director Craig Gillespie chose to follow that same direction, trying to use how interesting to write a character with such god-like powers having such a troubled mind and the duality she faces. The movie sets you up for that premise.
If Superman is hope, then Supergirl is consequence.
While it could be a striking contast, the way the movie is constructed falls short by trying to figure out its own style, while not developing any character’s arches as much as it would be needed for us to get attached to.
Don’t get me wrong, the emotional aspect is there: there just isn’t much depth to create empathy. Supergirl’s trauma isn’t overlooked, but there isn’t much of a journey. She is where she’s at, and we feel compelled to accept it. The woman is drunk and doesn’t seem to care, so why should we?
DOING WHAT THEY CAN
That is, in no way, Milly Alcock’s fault. Her portrayal of Kara is good considering what they gave her to work with. In many moments, her comidic timing is what saves the movie. Her recklessness becomes funny when it could be, when in many other actresse’s hands, it could become very annoying.
While Alcock is a positive aspect, Jason Momoa’s take on Lobo was extremely disappointing to me. The character should be able to steal the scene wherever he is, to be magnetic. He is an anti-hero who very much deserves a well done development and performance. Lobo gets neither. Momoa’s performance is nothing new. Some people might enjoy the characterization and makeup, but I felt it was difficult to separate the actor from the character.
The script also doesn’t try hard to make it easier, because it doesn’t feel like Lobo should be there. His presence is completely disposable. He has not the time nor the effort to be interesting. We don’t understand his motives, in fact, he doesn’t seem to have any, other than money. And there must be a better way to showcase that other than having the character repeat it over and over.
FAIR JUDGEMENT
Still in the topic of the film’s humor, its lightweight pace is definitely a pro. It doesn’t take itself so seriously, making it easy to lay back and enjoy a fairly fun experience, while understanding it is not winning film of the year anytime soon.
Should superhero movies be taken really that seriously anyway? Are we not allowed to sit back and enjoy, for two hours, the world we are launched into, without much consideration?
If you think about it and decide that, yes, we very much can, then Supergirl is the movie for you. But it fails to attach any real emotion to the fun, which is something 2025’s Superman does very well. There, the world building is satisfying enough that, when Kara makes her short appearance, we enjoy it.
Here, Superman’s presence is not only silly, but a clear attempt to show how different these characters are. Only, instead of developing Kara enough for the contrast, they just make Clark silly enough that she seems dark next to him.
Anyone could walk into Supergirl without feeling lost, it seems like a bridge to a bigger universe in construction. Almost like these adventures are just small happenings, because at some point in the future the real villain will show up. Constructing a interconnected storyline is a good thing, but making all the movies so dependent on each other can be a negative.
Recently, we’ve witnessed a frustrating trend in cinema and television: overexplained, watered-down dialogue. This shift seems to be a direct response to audiences doom-scrolling or multitasking on their phones while watching the screen. However, this approach only flattens the characters and strips away any subtext, making the audience feel condescended to. At times, this movie feels like an example of that exact problem.
THE VERDICT
To be fair, it’s not a total disappointment unless you’re a die-hard comic book purist. This is meant to be a fun, easy watch to share with friends and family, one that doesn’t demand too much thought or time.
While it’s a messy cocktail of ideas, it does succeed in laying the groundwork for a potentially fascinating cinematic universe. I’m genuinely excited about DC’s new direction, and Supergirl doesn’t derail that momentum; it might not elevate the franchise, but it certainly isn’t a casualty of it.
Ultimately, it’s a fun piece of popcorn entertainment that doesn’t necessarily demand a trip to the theater, but if you’re just looking for some good old-fashioned escapism wrapped in a superhero suit and set to a 2000s emo soundtrack, Supergirl is out now.
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The article above was edited by Rafaela Navarro.
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