Supergirl (2026) – A Strong Beginning That Doesn't Quite Soar

By: Richard Graves, June 28, 2026

"Strong performances and a solid emotional core can't quite overcome uneven writing and missed opportunities. My review: 7.5/10."

James Gunn's new DC Universe continues to take shape with Supergirl, and while the film is far from a failure, it also isn't the home run many fans were hoping for. I walked away entertained, interested in the future of the character, but also with several reservations.

Milly Alcock delivers a committed performance as Kara Zor-El. She portrays a Supergirl burdened by grief, anger, and the loss of Krypton. Unlike Superman, who was raised by the Kents and views Earth as home, this Kara remembers Krypton and carries that trauma with her. Superman identifies with humainity as he was raised by and amongst humans. Supergirl was raised on Argo City of Krypton, so a different world view is expected.

That distinction works. Unfortunately, the screenplay leans too heavily into portraying her as emotionally adrift and frequently intoxicated. Rather than simply showing a flawed heroine, it occasionally feels as though the writers are manufacturing weaknesses to distinguish her from Superman.

The film continues that trend by repeatedly placing Kara in environments that diminish her powers. While there are legitimate comic-book ways to challenge a Kryptonian; red suns, Kryptonite, magic, this movie returns to that well often enough that it begins to feel like a narrative crutch. Great heroes don't need to be constantly depowered to create compelling drama.

Visually, I found the costume underwhelming. Melissa Benoist's CW Supergirl remains, in my opinion, the stronger visual interpretation. Alcock's suit, particularly the boots, lacks the iconic quality I associate with Supergirl.

One of the film's strongest elements is Ruthye. She is not simply a child seeking revenge; she is a traumatized young person whose determination drives much of the emotional weight of the story. Some viewers have criticized the violence she commits, but given her circumstances and the world she inhabits, her actions are understandable even if they are not admirable. She possesses real heart and gives the story emotional stakes.

Jason Momoa's brief introduction as Lobo is another highlight. He appears only briefly, but the casting feels immediately right. His charisma and physical presence suggest DC has found an excellent actor for the role, and I look forward to seeing more of him. It would have been nice to see more interaction between him and Supergirl.

Krypto remains entertaining, although I think the character is beginning to border on overuse. The emotional attachment to the super-dog works, but at times the film seems more invested in Krypto's welfare than in fully exploring the consequences of Kara's decisions. Likewise, the opening gag of Krypto urinating on Superman's statue struck me as unnecessarily irreverent. While some viewers will dismiss it as harmless dog humor, I found it emblematic of James Gunn's tendency to undercut iconic imagery with comedy.

As a professional DJ, I was particularly disappointed by the soundtrack. Gunn built much of his cinematic reputation on carefully curated music in the Guardians of the Galaxy films and The Suicide Squad. Here, however, the selections rarely elevated the story. Instead of feeling organically tied to Kara's emotional journey, the soundtrack often felt like a collection of songs chosen simply to reinforce the idea that she is a rebellious young woman. Even more distracting is the implication that alien dive bars across the galaxy are performing Earth music. Unlike Guardians, where Peter Quill's mixtapes provide an in-universe explanation, this film never adequately establishes why human music has become the soundtrack of the cosmos.

One area where I believe the film succeeds is in differentiating Kara from Clark. She should not be Superman in a skirt. Kara remembers Krypton. She carries scars that Clark never experienced. Those differences are sufficient to create a distinct character without diminishing Superman's legacy. And honestly, she didn't need to be drunk and throwing up for a signinicant protion of the move for us to get that. I hope future films continue exploring that relationship and perhaps eventually connect Kara with the Legion of Super-Heroes, a setting where her Kryptonian heritage has always felt particularly at home.

Ultimately, Supergirl accomplishes what an introductory film needs to accomplish. It establishes its lead character, introduces intriguing supporting players, and leaves room for growth. It is not a blockbuster that compels multiple viewings, but it is a solid foundation for the future of DC's cinematic universe. In that respect, it reminds me of the first Thor or Captain America films. Captain America's movies got progressively better, Thor's progressively worse, let's hope Supergirl follows the Captain America model.

Final Score: 7.5/10

Botton line: A worthwhile first chapter with strong performances, an excellent introduction to Lobo, and a compelling emotional core, but held back by uneven writing, a forgettable soundtrack, and a tendency to manufacture flaws where stronger storytelling could have accomplished the same goal.