‘Supergirl’ Review: A Punk-Rock Milly Alcock Carries this Fun Superhero Outing That Flies, But Doesn’t Quite Soar

When Kara Zor-El first appeared as Kal-El’s edgy cousin from Krypton at the end of “Superman,” there was palpable excitement for a solo “Supergirl” movie. And it was a 100% Milly Alcock’s edgy vibe and the emotional range she had flexed on “House of the Dragon” as Rhaenyra Targaryen that convinced DC fans she would do justice to the character and the film. Turns out, Alcock’s Kara is the beating heart and soul of “Supergirl,” which is a strictly decent summer superhero flick that floats okay, but doesn’t quite soar.

Borrowing its story from Tom King and Bilquis Evely's “Woman of Tomorrow” comic book miniseries, “Supergirl” is a coming-of-age chapter for Kara. And the film itself appears as a sort of edgy, more punk-rock, Gen Z cousin to David Corenswet’s sunny “Superman”. Kara is planet-hopping with her trusty sidekick, Krypto, and smack in the middle of a birthday bender, when she meets Ruthye Marye Knoll, who is out to avenge her family’s murder at the hands of the Brigands, who’re a band of ruthless intergalactic space pirates.

One brigand in particular, Krem of the Yellow Hills, is on Ruthye’s hit list, and she seeks a mercenary to help her exact revenge. Kara, who maybe understands what losing everything could do to a young girl, is initially reluctant, but then the stakes become personal for her. With the clock ticking, she must jump chase Krem and his brigands across the galaxy, with Ruthye in tow, and in the process confront her past trauma about her home planet, Krypton.

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The visuals of “Supergirl” are bound to give anyone, and not just fans of the comic, déja vû. They’re nothing like the brighter tones of “Superman” (save for the flashback scene between Kara and Clark Kent when she first arrives on Earth). The world-building is grimier, dustier, and darker, and the appearances of the human trafficking Brigands often give the impression that you’re in a “Mad Max” film that’s nestled within a “Star Wars” story. In fact, the intergalactic travel via buses and hitchhiking on spaceships, and the seedy bars full of alien bodies might just mislead you into thinking this is an episode of “The Mandalorian”.

But it’s the flashbacks to Kara’s past that set “Supergirl” apart from “Superman” and the other films. In a scene where Kara talks about Krypton, she says, “Krypton didn’t die in a day. The Gods are not that kind.” And it is this burden, of having lived and left a life on a dying planet held together by a thread that could snap anytime, and her early encounters with her cousin, David Corenswet’s Kal-El, and Krypto, the super good boy, that make and break your heart. In fact, it almost makes you wonder why the film didn’t offer more scenes with the trio, because that House of El family dynamic is the effortlessly heartwarming.

Milly Alcock portrays the depth of Kara’s complex emotions beautifully. And while Eve Ridley’s Ruthey feels a tad rigid in her performance, Alcock carries the dynamic for both of them. Their banter then becomes a back-and-forth between someone uptight because they are hurt and someone who is way too cool to care but actually does care deeply. And Alcock’s Kara is cool, with the film getting plenty of chances to underline that. 

“Supergirl” is super nerdy too, and loves dropping lore about Kryptonians, how the different suns affect them or how the yellow sun can even cure a hangover. There are some fun pop culture references too; some, direct, like when Kara calls an alien “Squidward.” And some are just visual, like when Jason Momoa’s bounty hunter Lobo gets a bar intro like Strider’s from “The Lord of the Rings: The Fellowship of the Ring.” Momoa wears Lobo as if the part was written for him, but this also makes his arc rather predictable and safe. He’s the reluctant anti-hero who aids Supergirl, but doesn’t overpower the film. Between Lobo’s brief rescue, Kara and Ruthye’s revenge and a human trafficking sub-plot involving the Brigands, there’s plenty of pumped-up girl power moments here that feel organic and never forced, which is fantastic.

Two action sequences stand out: The one where Kara and Ruthye are attacked on a bus and, much to Ruthye's shock, Supergirl saves the day to “Smile” by Wolf Alice. And the action sequence in the climax, for the sheer euphoria of watching Supergirl flexing her full power and burning it all down (set to “The Middle” by Grey, Maren Morris and Zedd). A special mention for the film's music choices here, which suit its visuals and the protagonist's punk-rock vibe.

“Supergirl”’s weaknesses then aren’t as plainly obvious, but rather a compounding regret over the few things that were good but never utilised to their full potential. For example, its villain, Matthias Schoenaerts as Krem of the Yellow Hills, starts off terrifying and instantly inspires hate. But his threat never amounts to anything truly edge-of-the-seat dangerous. The Kara and Krypto team-up gets less screen time than one would’ve hoped for. And the stakes—whether it is Ruthye's revenge or the danger to Kara's life—never rile you up, but only tide you over till the big moments that you know will inevitably arrive. 

Ultimately, “Supergirl” feels like it has great potential, especially with Milly Alcock portraying her with such nuance and as a perfect counter to her sunny and “Kindness is punk rock” cuz, Clark Kent. But, perhaps, it needs a different story that doesn’t limit the stakes, some higher skies to soar in (just like her cousin) and a more fleshed-out nemesis. And always, always more Krypto. “Supergirl” arrives in theaters on June 26, 2026.