This one has promise, but it does not hit all the right buttons. It’s not about the production values or the efforts and so on, but it’s attitude for the sake of attitude. It doesn’t have that charisma that will make it remembered. By far it tries too hard to fill in a character that is not really so well known and will always be considered secondary compared to ‘Superman’, a.k.a. Man Of Steel. Nothing chauvinistic or misogynistic about this. It’s just the way it is. And Jason Momoa has his moments, but let’s face it, he’s not main character energy, even as an antagonist.

The film draws from the graphic novel “Supergirl: Woman of Tomorrow” and keeps close to that interpretation of the character. If you have read and enjoyed that story, the film will likely land nicely. But while I enjoyed it and appreciated how faithfully it reflects this current incarnation, I still lean toward earlier versions and their adaptations, especially the one played by Melissa Benoist. Even so, this is a confident reuse of a strong narrative engine.

The plot follows Kara Zor-El as she moves through a series of interplanetary encounters that gradually pull her into a personal mission shaped by loss, responsibility, and a shifting sense of justice. It is structured as a journey rather than a single-location conflict, and it uses that movement to build character rather than simply escalate stakes. There are no heavy spoilers needed to say that the film is less about saving the world in one sweeping act and more about understanding what kind of protector she chooses to be.

What is coming through both in the film and in the general audience response is that this is very much a 50-50 experience in the best sense. It is not dark, neither does it push into the aggressive irreverence of ‘Deadpool’, and it does not attempt the relentless pacing of ‘Guardians of the Galaxy’. It moves with intent but allows itself breathing space. There are moments where that space slightly softens the impact, especially if you are used to tighter editing rhythms, but it also gives the film a distinct tonal identity. But the characters are incidental throughout. It could be anyone.

The lead performance tries really hard to carry the film with visible commitment. There is a clear attempt to establish ‘Supergirl’ as a self-contained emotional axis rather than a derivative extension of Superman. Her standout moment comes in a confrontation that is less about spectacle and more about restraint, where the choice not to act immediately defines her more strongly than any display of power. That restraint becomes a recurring trait and anchors the character. Whether that’s a good thing or a bad thing, is a risky proposition because if she is remembered just for this, then this is just best forgotten.

Jason Momoa, stepping into the antagonist role, brings physical presence and a certain ease with the genre. His standout moment is tied to a controlled reveal of intent rather than a large-scale action beat. The limitation is that he does not fully detach from the audience memory of Aquaman, and that familiarity lingers in a way that slightly flattens the transformation the role is aiming for. As mentioned earlier, he doesn’t have main character energy. I mean good for one liners. Aquaman itself sunk and was left at the bottom. But that’s only because the character itself was never a standalone superhero.

The supporting characters are written with economy but clarity. A younger companion figure provides the emotional counterweight to Supergirl’s experience and has a key moment of moral insistence that redirects the narrative at a critical point. A mentor-type presence appears briefly but leaves an impression through dialogue rather than screen time. There are also one or two surprise appearances that function more as acknowledgments of the wider universe than as plot drivers, and they are handled without derailing the story.

The script is efficient and largely disciplined. It avoids over-explaining its mythology and trusts the audience to follow the emotional throughline. There are stretches where the dialogue leans functional, especially in transitions between set pieces, but it recovers through character-driven exchanges. The tone is consistent with the film’s intent. It is not aiming for the operatic weight of Batman v Superman or the psychological layering of something like Doctor Strange. It stays within a controlled register that prioritizes accessibility over intensity.

From a technical standpoint, the cinematography favors clean, high-contrast imagery with a slightly desaturated palette in off-world settings and a warmer, more grounded tone in closer character moments. The visual effects are polished without feeling excessive. There is destruction, but it is not built around entire cities collapsing into debris. The action sequences are designed to support character beats rather than overwhelm them, and that keeps the scale in check.

The editing maintains a steady rhythm. It does not chase the rapid-fire cutting style seen in some recent superhero films, and while that occasionally affects momentum, it also prevents visual fatigue. The pacing is measured, with a clear beginning, middle, and end that respects narrative progression.

The sound design and score are restrained. The music does not overpower the scenes in the way some large-scale scores tend to. It supports rather than dominates, allowing dialogue and ambient sound to remain clear. The composer does not push toward a signature, instantly recognizable theme in the mould of Hans Zimmer, but instead delivers a functional and cohesive soundscape that aligns with the film’s tone.

In terms of character presence, this version of ‘Supergirl’ stands apart from earlier portrayals. Compared to ‘Wonder Woman’ as played by Gal Gadot who carried a mythic and almost statuesque presence ‘Supergirl’ feels more immediate and internally driven. She is less symbolic and more personal, which will connect differently depending on what you expect from a superhero lead. I’m being polite. She’s just not good enough. They should have roped in someone else.

The mythology behind the film draws from the broader Kryptonian legacy while narrowing its focus to Kara’s individual journey. It acknowledges the destruction of Krypton and her connection to Superman, but it does not rely on those elements as crutches. Instead, it builds a smaller, more contained narrative that explores identity, displacement, and the ethics of power in a more intimate frame.

Overall, the film barely works because it tries too hard. It tries too hard to not try too hard and be cool. But it ends up looking like effort. It does not overreach, it does not attempt to redefine the genre because it cannot. The good thing is that it does not collapse under the weight of its own ambition. To be fair, it delivers a coherent experience that respects its source material and its audience. For viewers aligned with this interpretation of ‘Supergirl’, it will make sense. If this is supposed to be for Gen Z, well then it’s an insult to that audience. For everyone else, wait for it to come out on Netflix.

Genre: (Action/Adventure)

Critic’s Rating: 2.5/5

Cast: Milly Alcock - Kara Zor-El / Supergirl, Jason Momoa - Lobo, Matthias Schoenaerts - Krem of the Yellow Hills, Eve Ridley - Ruthye Marye Knoll, David Corenswet - Superman, David Krumholtz - Zor-El, Emily Beecham - Alura Zor-El

Direction: Craig Gillespie

Runtime: 108 minutes (approx. 1 hr 48 min)

Language: English

Rating (International / US): PG-13

By Reagan Gavin Rasquinha

Reagan Gavin Rasquinha is a writer who moves between high culture and backroom blues, tracing the quiet revolutions that shape what we see, feel and hear. 

The writer can be contacted at reagangavin@gmail.com