Supergirl movie starring Milly Alcock botches the graphic novel: DC Studios’ first major stumble

This month’s release of Supergirl positions DC’s lesser-seen heroine back in the spotlight, but the film arrives with mixed results: strong performances and striking moments are undercut by tonal shifts and storytelling choices that dilute the source material’s emotional punch. For fans of the comic and newcomers alike, the question is whether this is a fresh, bold reimagining or a missed opportunity.

Plot and tone

At its core the movie follows Kara Zor‑El — played by Milly Alcock — and her companion Krypto on a mission that begins as a celebratory road (and space) trip and turns into a race against time after a violent criminal, Krem of the Yellow Hills, injures Krypto and steals what Kara needs to save him. The pair cross planets and moral lines, with the story borrowing freely from pulp westerns and outer-space adventures while nodding to the 2021 graphic novel Woman of Tomorrow.

The film leans into a grim, washed-out visual style and leans on a lean 108‑minute runtime to keep momentum. That economy keeps scenes moving but sometimes shortchanges quieter character beats that would have deepened the emotional stakes.

What stands out — the good

Alcock anchors the movie in convincing, emotionally varied work: she plays Kara as blunt, wounded and occasionally wry, which gives the film a center it otherwise would lack. Jason Momoa delivers a vivid, scene‑stealing turn as Lobo, bringing welcome chaos and charisma to the supporting cast.

• Performance: Alcock’s portrayal of Kara is the movie’s clearest strength.
• Practical effects: Several set pieces look and feel tactile, helping sell the film’s rough‑and‑ready world.
• Pacing: The brisk runtime keeps things moving for viewers seeking a conventional superhero outing.

Where it falters

Most of the film’s disappointments stem from how it adapts its source. The comic’s emotional core relies on seeing Kara through the eyes of a younger companion — a perspective that turns the story into a reflective two‑hander. The movie largely re-centers Kara as the point of view instead, and the result is that the film often skimps on the quieter, character‑driven interactions that made the graphic novel distinctive.

On the action side, editing choices frustrate as much as they excite. Several sequences, especially late in the film, cut so rapidly that choreography and spatial geography become difficult to follow; what should feel kinetic sometimes comes off as visually chaotic.

Cast and characters — quick notes

• Milly Alcock (Kara): Nuanced, brash, and emotionally precise; her performance is the clearest reason to watch.
• Jason Momoa (Lobo): Energetic and well‑cast, a highlight in the supporting ensemble.
• Eve Ridley (Ruthye): Useful in the role, but the film gives her limited room to grow compared with the comic.
• Matthias Schoenaerts (Krem): Serviceable, though the villain is simplified relative to the source material’s ambiguity.

Essential takeaways

• Based on: Woman of Tomorrow (Tom King and Bilquis Evely)
• Runtime: 108 minutes
• Style: Space western / sci‑fi with pulp influences
• Release: The film has debuted widely this month as part of DC Studios’ Chapter One slate

The practical effects, a handful of memorable set pieces, and Alcock’s central turn mean Supergirl will satisfy viewers who want a straightforward, modern superhero movie. But for readers hoping for a faithful, emotionally layered adaptation of the comic, this version will likely feel like a compromise.

Final verdict

Supergirl is neither a failure nor a masterpiece — it’s a capable, sometimes stirring film eclipsed by its own editorial choices. It introduces a compelling Kara for the DCU and delivers moments of real entertainment, yet it trims the reflective material that gave its source such resonance. For viewers deciding whether to see it in theaters, the clearest reason to go is Alcock’s performance and the film’s handful of striking sequences; the clearest reason to temper expectations is the loss of the comic’s quieter perspective and the occasionally disorienting editing.