A fiery and intoxicated superheroine is the highlight of the new film, Supergirl.
Forget the typical superhero narrative for a moment; numerous tales exist about privileged sons who squander their youth on indulgences, eventually needing to mature to uphold their family legacies. Shakespeare’s Henry IV Part One provides a classic example of this trope. Yet, where are the corresponding stories for daughters? Aren’t they equally in need of a reckoning? Historically, such narratives were scarce due to societal expectations relegating women primarily to motherhood. However, in today’s context, this oversight raises questions.
From her debut at the conclusion of last year’s Superman, Supergirl, played by Milly Alcock, presents a refreshing reinterpretation. Unlike her often one-dimensional portrayal as just a female counterpart to her iconic cousin, this version depicts her as the family misfit who prefers cocktails over cosmic heroism. This relatable characterization adds a layer of enjoyment, allowing Supergirl’s cinematic venture to stand apart from the multitude of superhero films. Nonetheless, it leaves one wishing the concept could have been explored more deeply.
As noted in Superman, Supergirl has a penchant for red-sun planets, where her powers diminish, allowing her to indulge in self-destructive behavior. Throughout the film, she sports a Hole T-shirt, embodying the spirit of Courtney Love circa 1992. This unique vibe infuses energy into the action scenes, where her male adversaries occasionally gain the upper hand thanks to her intoxication. In a bar fight, one nameless assailant delivers a kick to her stomach, prompting her to vomit. Remarkably, she responds, “Thanks, I needed that,” before re-entering the fray.
The exploration of her drinking habits is grounded in a poignant backstory. A flashback reveals the circumstances of young Kara’s birth following Krypton’s destruction, with her father managing to save a fragment of the planet. As she matures, she witnesses her parents and others succumb to kryptonite poisoning before her eventual arrival on Earth to join her cousin. Kara’s reflections highlight a stark contrast; unlike her, Clark never had to confront such trauma.
Alcock, the Australian talent recently seen in House of the Dragon and Sirens, delivers a compelling portrayal of Supergirl’s turmoil and vulnerability. Superman’s wholesome optimism offers a contrast when he appears, adding emotional depth to Krypto, the dog, who is introduced as a stray during Kara’s mother’s funeral. The villains’ slow-acting poison targeting Krypto is cleverly justified in the script, preventing the narrative from devolving into a John Wick-style saga.
Yet, many elements of the film falter. The action sequences are not only chaotic but also poorly woven into the overall narrative. The flashback detailing Supergirl’s origin appears during a lull in the story, leading to a lack of engagement. Director Craig Gillespie struggles to create memorable visuals or standout moments, resulting in a film that feels clumsy in its pacing and character development.
Supergirl is also tasked with protecting a girl, played by Eve Ridley, whose family was slain by the same gang that harmed Krypto. This subplot lacks depth, failing to convince viewers that Kara’s transformation hinges on persuading the girl against vengeance. The urgency of retrieving an antidote for Krypto before it’s too late does little to heighten suspense.
Jason Momoa makes an appearance as a brash, cigar-smoking bounty hunter who oscillates between aiding and opposing Supergirl. His charisma adds a much-needed levity to the film, revealing a different dimension to the heroine’s toughness. The superhero genre is filled with male characters grappling with their personal demons while embracing their powers. There is ample room for female narratives in this space. Supergirl hints at such potential, yet it feels like the film falls short of achieving greatness. Perhaps audiences will have to wait for a sequel to explore that promise further.
Supergirl stars Milly Alcock and Eve Ridley, directed by Craig Gillespie and written by Ana Nogueira. The film is rated PG-13.
