DC Studios’ latest entry into its expanding cinematic universe, *Supergirl*, has sparked mixed reactions following its release on June 25, 2026. Directed by Craig Gillespie and starring Milly Alcock as Kara Zor-El, the film attempts to build on the success of last year’s *Superman*, helmed by DC co-chair James Gunn, but faces criticism for failing to carve out a distinct identity for its titular character.

Milly Alcock’s portrayal of Supergirl has been widely praised, with many reviewers highlighting her ability to balance sarcasm, vulnerability, and complexity as Kara, who struggles with the trauma of having lost her home planet Krypton and her people. The character is presented as a darker, more cynical counterpart to Superman, portrayed by David Corenswet, whose lighter, more optimistic take contrasts with Kara’s guarded and rebellious demeanor. Their brief shared scenes are noted as standout moments in an otherwise uneven narrative.

However, the film’s tone and style have drawn criticism for feeling derivative of Gunn’s work rather than establishing a unique voice. The script by Ana Nogueira, adapted from Tom King and Bilquis Evely’s 2021 *Woman of Tomorrow* comic miniseries, has been described as scattershot, with the film vacillating between pulpy humor and darker themes, such as human trafficking portrayed through the antagonist Krem of the Yellow Hills, played by Matthias Schoenaerts. Schoenaerts’s performance, along with Jason Momoa’s portrayal of the bounty hunter Lobo, has been noted as underwhelming, failing to inject the menace or charisma expected of their roles.

Visually, the film departs from the cosmic grandeur suggested by its source material, opting instead for a muted, utilitarian aesthetic reminiscent of Gunn’s *Guardians of the Galaxy* series but lacking its dynamic energy. The use of occasional practical effects and alien designs provides some visual relief but does not overcome the overall sense of monotony and cramped settings.

Comparisons have also been made to other female-led superhero films, with some critics suggesting *Supergirl* lacks the spirited and coherent feminist vision seen in movies like Cathy Yan’s *Birds of Prey*. The soundtrack’s riot grrrl and noise-pop influences aim to underscore Kara’s punk-rock attitude but have been met with mixed reactions, seen by some as insufficient in conveying the heroine’s internal conflicts or the film’s thematic ambitions.

Despite its shortcomings, *Supergirl* offers glimpses of potential, largely through Alcock’s performance, and the character’s unresolved arc leaves room for future development within the DC universe. As the franchise continues to evolve, finding a more defined creative direction may prove essential to elevating Supergirl’s filmic presence beyond its current ambivalence.