‘Supergirl’: A thoughtful, cosmic journey in DC’s measured new universe

The reboot of the DC Extended Universe has taken a slower, more deliberate path—one that prioritizes structure over spectacle. A year ago, audiences were introduced to a kinder, more hopeful Superman, a welcome return to optimism for the franchise. While the last son of Krypton arrived with that philosophy firmly in place, his cousin Kara Zor-El offers a markedly different perspective on what it means to choose heroism.

‘Supergirl’ follows Kara Zor-El, one of the last survivors of Krypton, as she travels across the universe—seeking out planets with red suns—to celebrate her 23rd birthday alongside her loyal companion, Krypto. That brief sense of freedom is disrupted when she crosses paths with Ruthye Marye Knoll, a young girl driven by revenge after her family is murdered by Krem, leader of the Brigands, a group of space pirates. Kara initially refuses to intervene, but when a chance encounter places Krypto in danger, the conflict becomes personal. This narrative choice deliberately distances the film from being a traditional origin story, even as it gradually fills in key pieces of Kara’s past.

Here, Kara is still far from embracing her destiny as a superhero. Although audiences previously caught a brief glimpse of Milly Alcock as Supergirl at the end of ‘Superman,’ this film finally allows her to take center stage. Early on, Kara understands her powers but questions the obligation to use them altruistically. She wants freedom, fun, and companionship—not responsibility. As the story unfolds, however, her emotional distance gives way to a deeper exploration of the trauma she carries from witnessing the destruction of Krypton.

Ruthye, portrayed by Eve Ridley, functions as more than a narrative catalyst. She serves as a moral counterweight to Kara, defined by clarity of purpose and unwavering determination. Her desire for revenge is established immediately, lending the character emotional credibility from the outset. In contrast, Krem and the Brigands emerge as the film’s weakest element. Their depiction is largely one-dimensional: they arrive, plunder, kill, and disappear. While the film suggests they are feared and experienced predators, they are given little internal motivation beyond cruelty, limiting their dramatic impact.

One of the film’s standout moments comes with the arrival of Lobo, played by Jason Momoa. After years of publicly expressing interest in the role—and despite his previous incarnation as Aquaman—it is clear this character suits him perfectly. The performance embraces all the iconography fans expect: the motorcycle, the cigar, and the unapologetic brutality. Although his screen time is brief, it leaves a strong impression and sets the stage for a potentially larger role in the future of the DCU.

Beyond Dialogue

What truly distinguishes ‘Supergirl’ is its reliance on subtext rather than exposition. The film resists the urge to over-explain, instead allowing actions, visual cues, and atmosphere to communicate emotional weight. Kara’s outward detachment masks the deep scars of survival and loss, conveyed through flashbacks, shifting planetary environments, and the symbolic use of different suns. Considering the challenge of condensing its source comic into a single film, the adaptation succeeds in capturing the spirit—if not the full depth—of the material.

This approach extends to the antagonists as well. While the Brigands initially present as conventional space marauders, the film gradually reveals a darker subtext: they abduct women not to expand their ranks, but to perpetuate their all-male society through forced reproduction. It is a heavy theme, particularly in a female-led narrative, yet the film handles it with restraint rather than sensationalism.

Visually, director Craig Gillespie delivers a largely effective presentation. Action sequences manage chaos well, supported by competent—if not groundbreaking—visual effects. The interplay between practical locations and CGI environments provides a strong sense of scale and variety. That said, the frequent reliance on muted color grading occasionally dulls the richness of the universe; a more vibrant palette might have better reflected the diversity of the worlds Kara and Ruthye traverse.

The pacing mirrors the film’s reflective tone. Certain stretches move deliberately, allowing space for character development and emotional context, particularly through flashbacks to Kara’s life on Krypton. While this measured rhythm may feel slow to some, it aligns with the story’s introspective focus.

Ultimately, ‘Supergirl’ is less concerned with expanding the broader DCU roadmap than with illuminating a distinct corner of it. Though it does not quite reach the heights of Superman’s reintroduction, it stands as a thoughtful and worthwhile entry. Milly Alcock delivers a compelling portrayal of a hero shaped by trauma rather than idealism, reinforcing the idea that not all heroes arrive at their calling the same way. Despite minor shortcomings and a simplified villain arc, the film succeeds in presenting a version of Supergirl that respects both its audience and its source material.

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