Supergirl critic review: Milly Alcock's Kara Zor-El soars while Jason Momoa's Lobo steals the spotlight; but does the film live up to expectations?

On the negative side, Variety delivers a harsh assessment, labelling it “super-horrendous” and criticising a terrible script that reduces the story to basic drives - “Kill Krem! Save the dog!” - without compelling depth. The punk-rock posturing feels like corporate pretension rather than authentic rebellion, and alien cantina scenes echo Star Wars influences too derivatively. Several reviewers point to numbingly flat stretches despite abundant action, with the plot described as by-the-numbers and lacking originality or grandeur.

Forbes coverage notes the bumpy Rotten Tomatoes flight, with individual critics lamenting the failure to mine emotional depth in the central female relationship despite Gillespie’s history with spirited women characters. Other pans highlight an uninteresting villain, inconsistent CGI, awkward pacing in the compact runtime, and songs that occasionally jar. Even positive-leaning reviews acknowledge struggles to fully match Kara’s energy with a spirited supporting cast and story.


The reception has inevitably looped back to Gunn, whose prior emphasis on “quality first” and solid scripts has drawn scrutiny. Commentators note the irony as detractors revisit his statements amid complaints about the screenplay. This discourse reflects wider industry conversations about superhero fatigue, the difficulty of delivering fresh entries and accountability in high-profile franchises.

Strengths: Performances that elevate the movie

Alcock emerges as the film’s strongest asset. She captures Kara’s punk-infused detachment- hungover mornings, oversized sunglasses, vertical flight preferences with a wild-child edge reminiscent of 1970s androgyny. Critics note her furrowed brows, sleepy glares, and insolent grins convey teen-like rebellion alongside underlying soulfulness and vulnerability. Her physical commitment in fights and emotional range during trauma-reckoning scenes give the film its heart.

Momoa’s Lobo delivers the most consistent crowd-pleasing energy. His larger-than-life, stogie-sucking biker bounty hunter brings chaotic charm and untidy vitality, often described as a jolt that cuts through flatter stretches. The performance satisfies yet leaves viewers wanting more, perfectly suiting the role’s comic-book excess.


Ridley’s Ruthye provides a grounded counterpoint, her stoic determination and declamatory drive fueling the revenge engine with petulant intensity. Schoenaerts relishes Krem’s odious pirate menace, creating a watchable, grotesque antagonist with shaved head, piercings, and Transylvanian-tinged menace. Corenswet’s cameo offers reassuring warmth, while the parental flashbacks add emotional texture.

Gillespie brings visual style from his character-driven history, infusing Mad Max-lite trappings and practical effects where possible. The interstellar worlds feel lived-in, and action choreography emphasises realistic consequences—heroes get beaten when stakes demand it.

Weaknesses: Where the script and execution falter

Multiple critics identify the screenplay as the primary limitation. Motivations remain basic - avenge the fallen, save the dog, without evolving into something more convoluted or profound. The plot plods between spectacle and snark, occasionally feeling numbingly flat despite constant motion.

Originality proves elusive. Cantina-like alien gatherings echo Star Wars influences too directly, while dystopian aesthetics and space-western tropes register as derivative. Some sequences prioritise rubbery creatures and tentacles over narrative drive, evoking dated Muppet-like charm rather than wonder. Emotional depth in the central sisterhood sometimes fails to land, a notable shortfall given Gillespie’s track record with complex female dynamics.


The “punk rock” branding- Blondie T-shirts, razory anthems, can read as forced corporate attitude rather than genuine subversion. CGI inconsistency and pacing issues from the compact runtime further hinder momentum for some reviewers. Krem, though effectively menacing as a child-trafficking threat, lacks sustained charismatic menace to anchor the conflict.

Pre-release discourse around Alcock intensified after interviews where she addressed inevitable online scrutiny for women in major franchises. Referencing her House of the Dragon experience, she spoke of discomfort with public “ownership of women’s bodies” and described potential criticism as a “tsunami.” The comments sparked accusations of preemptively crying misogyny or victimhood, with detractors claiming they signal insecurity about the film’s quality.

Some posts dismissed her as mismatched for the role or suggested the backlash proved her point about disproportionate judgment of female leads. However some fans did support Alcock and praised her performance in the movie.

Supergirl ultimately offers a competent but uneven expansion of the DCU. Alcock and Momoa supply memorable anchors that hint at richer storytelling possibilities, yet the screenplay’s limitations and derivative stretches prevent it from achieving consistent altitude. In an era of franchise fatigue, its focus on a trauma-informed, punk-adjacent hero and provides a foundation worth developing, even if the current execution feels more transitional than transformative.


Viewers drawn to character-driven cosmic adventures and strong performances will find rewards, while those seeking groundbreaking spectacle may depart satisfied but not transformed. The film’s reception and box office performance will shape immediate conversations about Gunn’s DCU direction.

Supergirl opens in cinemas on Friday, June 26, 2026. No official streaming date has been announced yet.