Last year’s “Superman” ended with Iggy Pop singing a punk anthem, an ironic touch for a conventional hero. This sentiment seems more fittingly echoed by Superman’s cousin. Milly Alcock portrays Kara Zor-El, known as Supergirl, with a punk flair, trading spandex for a Blondie T-shirt.
In Craig Gillespie’s “Supergirl,” Kara embarks on an interstellar spree, embracing a rebellious spirit akin to Courtney Love. Nonchalant and sarcastic, her style somewhat mirrors that of Han Solo. Traversing galaxies in a dilapidated spaceship, she engages in brawls in alien bars. This makes her a refreshing deviation from more traditional superheroes, with Alcock delivering a standout performance. Unfortunately, as energizing as Alcock is, “Supergirl” struggles to match her punk-rock vitality.
Under the direction of James Gunn, the film, although occasionally engaging, experiences difficulty in embodying the same spirit. Alcock’s cameo in “Superman” delighted audiences, and the transition to her own feature, complete with her loyal dog Krypto, feels a natural progression.
The film primarily unfolds in space, only occasionally touching down on Earth. With imaginative production design, clever music choices, and an underdog narrative, it is reminiscent of Gunn’s “Guardians of the Galaxy” series. The cosmic setting offers a mix of quirky characters and animated creatures. Seth Rogen lends his voice to an imaginative alien co-pilot, adding to the film’s distinctive environment. Kara finds herself drawn toward these surroundings, despite the lack of yellow sun diminishing her powers.
Reluctantly pulled back into action, Kara is enlisted by a young girl, Ruthye Marye Knoll, seeking vengeance for her family slain by space pirates, the Brigands. Although initially hesitant, the poisoning of Krypto forces Kara’s hand as she pursues an antidote held by the Brigand leader, Krem.
The narrative, influenced by the “Supergirl: Woman of Tomorrow” comic series and scripted by Ana Nogueira, is not particularly groundbreaking. Yet, it serves as a reliable framework, akin to a Western story with Kara stepping into a John Wayne role from “True Grit.” The journey inevitably leads to Kara’s growth, with flashbacks to Krypton providing insight into her struggles.
Several side characters feel underwhelming. Ruthye appears too fixated on revenge, offering little amusement. Jason Momoa’s portrayal of Lobo adds a theatrical element, yet his rockstar appearance might be too excessive for a story featuring a flying dog. Schoenaerts presents a menacingly effective persona, though his character Krem lacks depth beyond his unique look.
The film’s aesthetic indicates influences from “Mad Max,” with metallic visuals and biker tropes surfacing amidst an all-male Brigand plot. Despite these familiar elements, “Supergirl” aims to tread new territory in the superhero landscape, accompanied by music from Modest Mouse and Jenny Lewis.
Gillespie, known for “I, Tonya” and “Dumb Money,” utilizes IMAX cameras to enhance the visual experience, though his handling of the material sometimes lacks cohesion. The missing energy affects the film’s overall impact, despite Alcock’s efforts to elevate the narrative. Perhaps focusing too much on male characters rather than Kara’s compelling journey detracted from the movie’s potential.
“Supergirl,” released by Warner Bros. on Friday, carries a PG-13 rating due to explicit scenes of violence, language, and substance use. With a runtime of 107 minutes, it earns a score of two and a half stars out of four.