SUPERGIRL (2026)

There's genuine talent on screen here. Milly Alcock gives a strong lead performance, the visuals are great, the soundtrack is fun, and the action sequences deliver typical superhero excitement. There's real moral ground too — a reluctant heroine who eventually chooses to protect the weak, stand against tyranny, and reject the pull of revenge.

But the movie costs you something for that ground. Sixteen obscenities, several scenes of drunkenness, implied sex trafficking, and intense action violence sit alongside a script that never gives its title character much depth to work with. Worse, a nihilistic "every person for themselves" attitude and an eye-for-an-eye mentality run underneath the story's better instincts.

This is a mixed bag — real merit, real caution. Adults who want to see it should go in informed; families should let this one wait for a night when the kids are elsewhere. Wait for home, adults only.

It's Kara Zor-El's birthday, which means she's doing what she does most days: hiding under a red sun where her powers don't work, drinking to forget the parents and planet she watched die. She has no interest in being anyone's hero.

That changes when a grieving young girl named Ruthye tracks her down, desperate for help avenging her murdered family — and refuses to take no for an answer. When Kara's beloved dog Krypto is poisoned by the same mercenary who killed Ruthye's family, Kara finally has a reason to fight. The rest is a journey neither of them expected.

Three stars means this one has real strengths but doesn't fully come together. The action is enjoyable, the visuals and soundtrack are genuinely good, and Milly Alcock does strong work balancing a Kryptonian hero with real moral flaws. Jason Momoa's Lobo brings some of the film's most memorable, reckless energy.

The trouble is the script. Alcock's Kara is never given much to work with beyond a handful of flashbacks, and the story stays surface-level when it should dig deeper. Ruthye's character is often more liability than partner, and the villain is largely forgettable. Most tellingly, David Corenswet's brief appearances as Superman upstage the movie meant to launch his cousin as her own icon — not a great sign for a film trying to prove she can carry a story alone.

There's a light redemptive moral worldview at the heart of this story, and it's worth naming plainly: a traumatized young woman who wants only to drink and disappear eventually chooses to risk her life for someone she loves, to stand against tyranny, and to protect the vulnerable. A flashback shows her promising her mother to be good, and the film gives her a real moment of counsel against revenge — vengeance, she says, won't satisfy you.

That's genuine ground, and it's worth crediting. But it's undercut by a Romantic, pagan current running through the rest of the story: an "every person for themselves" mentality and an eye-for-an-eye ethic that never gets fully answered by the film's better instincts. The story raises the question of revenge and then doesn't fully commit to its own answer.

That tension — the ache to make wrongs right by our own hand, versus the call to leave justice to someone greater — is an old one. Scripture speaks directly to it: "Beloved, never avenge yourselves, but leave it to the wrath of God" (Romans 12:19). A film that can name the temptation but not fully resist it is worth watching with that verse in mind.

There's real craft in Supergirl — a committed lead performance, good action, a moral core worth noticing. But a thin script, a nihilistic undercurrent, and a stack of content concerns keep this from being one to take the family to opening weekend. Our answer stands: wait for home, adults only. Looking for something the whole family can watch together this week? Start with our latest.