Erm, there seems to be a weary bit of dread already dangling from another mediocre outing from its second installment in the reboot series, to that reboot series that pushed folks away from the brand that brought you the likes of Superman and Batman. Now, this writer will sure as hell take any DC entry that is better than a clash of chaotic ideals from Batman v. Superman: Dawn of Justice, the infamous second installment under the DC Extended Universe that told the world, “Crap, we could compete with Marvel, but we don’t know how to accomplish this. Ooh, pit two of the most renowned superhero icons against one another in a movie with a bombastic amount of ideas and no recognized payoff!”
Supergirl, while not as egregious as the 2016 atrocity, seems to regurgitate DC’s unyielding expectations: grind the enterprise to a screeching halt with only its second outing under the new leadership/studios. And one could argue it’s ostensible more than anything, or this moment will be ephemeral in the grand scheme. Hmm, did anyone watch Black Adam, or as Dwayne Johnson will sell you, “the hierarchy in the DC Universe is about to change”? Or the fatiguing sequels in Shazam! Fury of the Gods or Aquaman and the Lost Kingdom that wrapped up the DCEU on a decaying yet sour note? DC seems to be on this cyclical pattern, where when the stars are brightest, they still let you down with another dispiriting superhero tale.
The film’s plotline follows Kara Zor-El (Milly Alcock) as an apathetic, perpetually hungover 23-year-old who feels all the more emblematic of a Gen-Xer. At least she loves her dog Krypto, whom audiences had met and adored in last year’s Superman. Anyway, the pair stumbles across a young gal named Ruthye Marye Knoll (Eve Ridley), who is seeking assistance in getting revenge on a space pirate named Krem (Matthias Schoenaerts) for executing her family. Well, Krem needs a way to show us his villainous presence, and what better way to do that than with a crux of him shooting Krypto with a poisonous dart that leaves him roughly 72 hours to live? So, alas, Kara and Ruthye are on a time crunch to find Krem and get the antidote before it’s too late for the CGI dog. Oh, and Lobo (Jason Momoa) appears later on to kick butt against Krem and his men while he smokes endless cigars on his bike.
It is refreshing to get a superhero tale that doesn’t resort to the “save the world” plotline to propel its narrative. With all that being said, this setpiece’s sense of urgency never abides by what it strives to achieve. Alcock’s take, as an uninterested, feisty one-note character, doesn’t drive the narrative well; she lacks the charisma and charm of David Corenswet’s Superman, who also appears during her introduction to Earth (after being shipped off her home planet). Ridley is a derivative version of Inigo Montoya, incessantly reaffirming her mission of revenge, which leaves everything feeling drab. And Schoenaerts’ work as the villain is relatively monotonous. You’ve seen it here, but you’ve seen it elsewhere a hundred times before. The set pieces are relative pops to remind folks of the interest in Star Wars and Mad Max, but you can watch one of those films and enjoy the plot and action, whereas here it’s simply boring.
Even the notion of a trafficking ring and slavery aspects brought up gets tarnished for the sake of chaotic action and dodgy effects. At least Jason Momoa is having a blast as Lobo, bringing an untidy bit of energy for a feature in desperate need of some.
It’s a shame to keep coming back to these unkind words to describe a film that could’ve rocked with a super punk insight. But it feels as if James Gunn is already turning on his own words, unintentionally triggering another superhero fatigue case for DC (while Marvel is hoping to strike it hot with reliable IP follow-ups in Spider-Man: Brand New Day and Avengers: Doomsday later this year). Superman last year was a case of hope; this is a middle finger to all those who turned up for it.
And if you think about it, Gal Gadot’s Wonder Woman from nearly ten years ago seems like a godsend for DC and female empowerment; Supergirl is borderline a super-disappointment.
