Supergirl, the second installment in the new DC universe (excluding the animated series Creature Commandos, which surpasses most superhero films), is not the total disappointment some claim, but it’s far from a success either. It’s reasonably entertaining, with a few good moments, but it lacks personality. Visually, it ranges from dull to dreadful, and ultimately, it’s mostly forgettable.
And the word “forgettable” is precisely what *Supergirl: Woman of Tomorrow*, the eight-issue comic book series by Tom King and Bilquis Evely, is not. This film directly draws inspiration from that comic (without crediting it in the opening titles). Unlike most superhero movies that take characters, themes, basic premises, and sometimes visual ideas to build original stories, *Supergirl* is a direct adaptation of the 2021-2022 comic, lauded as one of DC’s best in recent years.
This approach is interesting but ultimately harms the film. Those who have read the comic won’t be particularly engaged, given how closely it adheres to the original plot. They’ll also be disappointed that it fails to capture the comic’s best aspects, both in terms of story and visuals. As for those who haven’t read it, they’ll be presented with a fairly basic and unoriginal revenge story (originally inspired by *True Grit*), while missing the depth and nuance of the source material, particularly its blend of dry humor and tragic elements, which are diluted here.
Ultimately, the film risks disappointing most viewers to varying degrees, though it’s not without its good choices. For example, while some may find it disappointing that Kara Zor-El doesn’t don her Supergirl costume or fight like Supergirl until the final act, it serves as a good introduction to the character within the broader DC universe. We encounter a rougher, more apathetic character – beautifully portrayed with a wide emotional range by Milly Alcock – who is the antithesis of the Superman we knew last year (Superman himself makes a few appearances in this film, incidentally). However, reluctantly drawn into a new conflict, she eventually embraces her “super” side and realizes she is destined to be a hero, to be “good,” even if the notion of good is open to interpretation, and it’s hinted that she will clash with her super-cousin in a future adventure.
In this regard, the use of flashbacks to tell her origin story and define her character doesn’t prevent her from having a satisfying, albeit not radical, evolution. Especially since she shares the protagonist role with another character, Ruthie (Eve Ridley), a young girl seeking revenge after her family was decimated. Her dynamic with Alcock’s Supergirl is interesting, but I’d say there isn’t much chemistry between them, perhaps due to a surprising lack of meaningful interaction outside of key, predictable plot points. Oh, and there’s also Jason Momoa, who injects some much-needed fun into an otherwise humorless film but adds almost nothing to the plot.
The film completely fails in its visual design. Translating Bilquis Evely’s colorful art to the screen would have been a significant challenge, with a high risk of appearing cheap and artificial. But if there’s anyone in Hollywood who could have pulled it off, it’s none other than James Gunn, the producer and mastermind behind the DC cinematic universe, who delivered a wonderfully colorful *Superman* last year, and especially *Guardians of the Galaxy Vol. 2* – one of the live-action superhero films that most resembles a vibrant comic book without shamefully overdoing it (the third *Guardians* installment, while good, largely reverted to that dull aesthetic).
To start from the beginning: I appreciate that Gunn and Peter Safran are giving artistic freedom to the franchise’s directors, treating each film as a standalone graphic novel. However, Craig Gillespie opts for a super grimy, dusty, rusty, gray, and brown universe here, which feels more like *Guardians of the Galaxy* (the first one) or most of Disney+’s *Star Wars* series set in deserts, dilapidated villages, or abandoned installations.
The film features a good amount of practical makeup, costumes, and effects for the aliens, which is a big plus. But the sets are so bland, and the cinematography so flat and nondescript, that it almost feels like one of those early 2000s or 2010s superhero films, movies that were still trying to find a “grounded,” realistic look, which ultimately made them uninteresting and boring. This is all the more concerning when you consider how stunning the original comic book is. The balance between the ultra-tragic story and the magnificent landscapes is one of the key elements that makes it so powerful.
In the end, *Supergirl* feels like a missed opportunity: a poor adaptation of a fantastic comic book, and a decent but forgettable introductory film for a superheroine who possesses immense potential, provided there are directors willing to tell new stories and dare to dream a little bigger visually.