During the inception of James Gunn’s new DC Universe, the chairman of DC Studios said, “The script still needs to be good. We’re not going to make it unless we like the script.” This was in reference to the cancellation of Luca Guadagnino’s “Sgt. Rock” adaptation, which was reportedly going to feel looser and more artistically driven by Luca’s vision compared to what we’re getting now with “Supergirl“. At least, that’s the Spidey-sense I’m getting from the tone Gunn uses in that “Entertainment Weekly” interview. The interview itself is fascinating because we’re in the early stages of DC Studios trying to regain its footing in the superhero genre. Last year’s “Superman” brought the titular character back by rebooting him from Zack Snyder’s god-like monstrosity in the DCEU into a true Boy Scout. David Corenswet effortlessly portrayed the comic book character with wit and a genuine understanding of what Superman stands for when it comes to justice, truth, and the American way. James Gunn started the fire, and now he’s trying to pass that flame to Craig Gillespie with this loose adaptation of the beloved comic book series “Supergirl: Woman of Tomorrow“.

In “Supergirl” (2026), Supergirl (Milly Alcock) is a lonely alcoholic who believes the universe is beyond saving and that there isn’t any hope left across the cosmos. She is reluctant to join her cousin, Superman, in Metropolis and instead spends her days as a woman who believes she doesn’t need help from anyone. That changes when Ruthye Marye Knoll (Eve Ridley), a young, naive girl, shows up seeking revenge against Krem (Matthias Schoenaerts), the leader of a space pirate gang known as the Brigands, who enslaves young women for his own personal gain. From the very beginning, the audience is hit with a constant barrage of sloppy CGI fight sequences and fast-paced exposition. The film never takes the time to sit down and understand what’s truly at stake for either Supergirl or Ruthye. In fact, whenever it tries, the emotional moments feel completely manufactured, as if they’re begging the audience to cry alongside these two young powerful women.

Don’t get me wrong, it was interesting to hear Supergirl explain how Krypton wasn’t completely destroyed after the planet’s core exploded. Instead, a chunk of the planet was forced out of orbit, allowing a group of Kryptonians to try and build a new life together. But that hope quickly disappears once Kryptonite poisons the surviving fragment of the planet. Even then, the story is played for fake tears and forced emotional bonding between Supergirl and Ruthye. By the time we finally reach that backstory, the film has already fallen flat on its face.

It seems like Craig Gillespie was forced to take notes from James Gunn’s discretion when it comes to bringing Supergirl to life. The inklings of Gunn’s pen are fully on display through the mismanaged, Guardians of the Galaxy-esque humor and inappropriate needle drops. One needle drop toward the end of the film involves a heavy, slow-motion fight sequence between Supergirl and Krem set to a slow-ballad cover of Jimmy Eat World’s “The Middle” by Kelty Greye & KidMotel. That’s where I truly recoiled into a ball of nothingness as the cover blasted through the IMAX surround sound system. There is no self-awareness or understanding of what makes a great superhero film in this haphazard production when that song starts to play in the background. They even inappropriately used one of my favorite Wolf Alice tracks in the film for a lazy, fight sequence in a space public transit bus.

Returning to the quote about Gunn reeling in screenplays that have purpose or weight behind them, “Supergirl” feels like a rejected screenplay from the 2000s. It’s the type of screenplay that only would have gotten away with its flaws if audiences were willing to succumb to the chaotic nature of Supergirl’s reckless behavior. Milly Alcock is trying her darndest to make the screenplay and poor direction work, even though her character mostly shows up to be belligerent and drunk. Gunn gives Supergirl no time for self-reflection or any meaningful opportunity for the audience to believe she is truly changing into the woman she is supposed to become.

Supergirl was allegedly test-screened to death, and it truly shows. This film was doomed from the start, and it seems like Gunn is content to let it operate as a “business as usual” superhero film. At a time when superhero films are experiencing fatigue among general audiences and hardcore fans alike, this feels like a regression for the genre. As a complete package, the film doesn’t shy away from the same tired tropes while poorly managing the characters’ motivations and the story’s progression within the new DC Universe.

It seems like Luca Guadagnino leaving “Sgt. Rock” was a good thing for both himself and DC Studios. Because with “Supergirl“, Gunn appears determined to bring his Marvel sensibilities into the new DC Studios so the film can print easy, tangible money.

But, you are not fooling me with this one…

Rating: 1.5/5