
As the second feature film in the new DC Universe, the new Supergirl movie, starring Milly Alcock as Kara Zor-El and directed by Craig Gillespie, serves a double purpose. It’s out there to demonstrate that not everything in this universe will be the same, and it’s out to further the world as well. It succeeds at both.
Based largely on the comic book series Woman of Tomorrow by Tom King and Bilquis Evely, the movie features Kara in space on a birthday bender when she gets mixed up with an alien girl named Ruthye (Eve Ridley) whose family was murdered by a Brigand named Krem of the Yellow Hills (Matthias Schoenaerts). Kara reluctantly joins Ruthye and finds herself battling not only the aliens who have hurt her beloved Krypto, but to save Ruthye from succumbing to her thirst for revenge.
I’ve heard people compare this movie to Guardians of the Galaxy, but although there are a few similarities, I don’t think the comparison is apt. They both take place almost entirely in outer space, there are space pirates of a sort, and there are a few fight scenes choreographed to popular music, agreed. And in both cases, we’re dealing with a broken loner who finds themself transforming into a reticent hero. But as opposed to being about a found family coming together to fight yet another cosmic menace, this is a more singular, personal tale. It’s also widely set apart from the first film in this new franchise, last year’s Superman. Whereas David Corenswet’s Superman is proud and heroic from the jump, Kara is very different. Unlike her cousin, she was a young teenager when her home (Argo City, the last remnant of planet Krypton) died. She remembers the planet of her birth, she remembers her father and mother, and she’s clinging to the pain that she carries with her as she tries to find a new place in the universe. I’m not an expert on trauma, but if I were to hazard a guess, I would say that Kara is suffering from PTSD, and it’s turned this Supergirl into someone who doesn’t really click with Superman. She sees his optimism as naivete, and she makes choices that fit with this incarnation of the character, but that he would most definitely never make.
While Superman seeded several different characters for the DCU, Supergirl only introduces one new major player, Jason Momoa as Lobo. He’s got that nasty charm that you expect from the Main Main, coming across as grimy and angry. He’s not a hero, not even an anti-hero, but he does have something of a code, and Momoa gets that code across.
Eve Ridley’s Ruthye is, in a lot of ways, the heart of the film. It’s her tragedy that starts the plot, and it’s the way Kara keeps trying to pull her back that causes the arc for the titular character. Ruthye has an arc of her own, of course, but the way it reflects on Kara’s arc is what makes her work. When we’re first introduced to Kara she’s bar-hopping on planets with red suns, since she can’t feel the effects of alcohol on a world with a yellow sun like Earth. But even at this point, where all she seems to want to do is to drink the pain of her loss away, the first thing we see Kara do that’s not immediately related to her own trauma is step up to defend Ruthye. It becomes clear to everyone – even Ruthye herself – that Kara’s real goal with the girl is to try to save her from succumbing to her own pain and survivor’s guilt because, having gone through it herself, Kara wouldn’t wish it on another innocent.
The film changes the ending of the book in a rather surprising way, but again, I think it’s a choice that fits this version of the character. The most important thing, though, is the fact that it gives us a very different film, not only from Superman, but from most other superhero movies of the last few decades. For quite some time now – since the first Avengers movie, if not earlier – superheroes have always been about escalation. Each movie has to be BIGGER than the last, each villain has to be MORE powerful, each threat has to be MORE deadly. That’s not the case here. Krem is strong, yes, but the things he does are relatively minor in comparison to Lex Luthor’s machinations in the previous film (or, presumably, Brainiac’s in the next one).
That’s not the story we get here. Despite the fact that the movie takes place in outer space, going from planet to planet, encountering one alien race after another, it feels much smaller than the last Superman, than anything Marvel has done in over a decade, and that’s a positive. With those movies it’s always time to save the planet, save the universe, save the MULTIVERSE. In this one, the stakes are the life of a small dog and the soul of a grieving child. There’s a little more, and it’s layered in nicely in a way that basically serves to make Krem an even nastier bastard than he already was, but those are the two things that the audience is invested in.
What a lovely change of pace.
Man of Tomorrow can’t come soon enough.
I don’t want to spend a ton of time talking about the first weekend box office for the movie. It didn’t do as well as hoped, but the majority of the people who’ve actually seen it (as opposed to the trolls who tried to bury it before it was even filmed) seem to have had a very positive reaction. The good news is that the movie industry is shifting, and while opening weekend ticket sales still dominate the conversation, the truth is that it isn’t always the be-all and end-all that it was just a few years ago. Milly Alcock’s Supergirl is already filming new scenes for next summer’s Man of Tomorrow, which is getting highly positive buzz, and which I hope leads people who skipped this movie to go back and find it when it’s streaming on HBO Max/Paramount+/Whatever the Hell It’s Going To Be By This Time Next Year.
As for the potential for a sequel, that’s a bigger question mark. Masters of the Universe had a similarly weak opening weekend (at a substantially higher budget), but also had a fairly positive audience reaction, and Amazon/MGM is reportedly considering a sequel. The big difference is that Supergirl is part of the larger DCU, and as James Gunn has already demonstrated, he’s not going to go ahead with any project until he’s satisfied with the script, so virtually nothing is guaranteed. I think there’s certainly potential for future movies starring Kara Zor-El, but I’m not going to make any predictions. If nothing else, I can be satisfied that this isn’t the last we’ll see of her.
And if you’ve been put off by the talk about the box office, remind yourself that most film critics these days are like any other part of the media – there to push a narrative. Don’t let them sway you. Check this movie out and make up your own mind.
Blake M. Petit is a writer, teacher, and dad from Ama, Louisiana. His most recent writing project is the superhero adventure series Other People’s Heroes: Little Stars, volume one of which is now available on Amazon. Don’t forget, you can check out earlier blogs in the Year of Superman/Superman Stuff Archive! Got a request for a future “Superman Stuff”? Drop it in the comments!




