Supergirl proves ‘flop film’ predictions wrong, but there’s still one glaring flaw

Review: Before anyone had even seen it, Supergirl was predicted to be a box office flop. This was despite its predecessor in the DC cinematic universe, Superman, having grossed $617 million worldwide.

I’ll admit I was one of the people who made that exact prediction. But when I sat in the cinema to watch the film, I realised I had absolutely no reason to be thinking that aside from internalised misogyny. Because, as it turns out, the movie is actually great.

The story follows Kara Zor-El (Milly Alcock), otherwise known as Supergirl, who embarks on an intergalactic quest for vengeance alongside the recently orphaned alien teen, Ruthye (Eve Ridley).

Together, they hunt down interplanetary human trafficker Krem (Matthias Schoenaerts) and his group of space pirates known as the Brigands, to not only get revenge for the death of Ruthye’s family, but to find an antidote to save Supergirl’s dog and best friend Kyrpto, who provides the film’s ticking clock with a mere 72 hours left to live.

While the script and plot may be a little weak at times, the film is fun and action-packed, and, at its heart, it’s a story of female friendship as Supergirl and Ruthye go from strangers to unlikely friends.

But it was one line in particular that made me realise why I had assumed the film wouldn’t be great.

Toward the start of the film, when Ruthye has just learnt of Kara’s cousin, Kal-El (otherwise known as Superman), who shares her same powers, she poses a question I’d never even thought of.

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Why does he get to be SuperMAN, yet she’s known as SuperGIRL?

If they’re around the same age and have the same powers, should they not have the same name?

It’s not an accidental flaw, it’s intentional and with Superman being created in 1938, and Supergirl in 1959, the lore runs deep, 67 years deep. I did some research and scrolled plenty of Reddit threads, and it seems there are two main theories:

The first, Supergirl is mainly depicted as a teen whereas Superman is mainly depicted as an adult.

The second is that Supergirl and Superman have the same number of syllables and it was rumoured creators thought ‘Superwoman’ doesn’t roll off the tongue as easily.

If you ask me, neither of these are good enough explanations, especially since Alcock’s Supergirl is on an intergalactic bender to celebrate her 23rd birthday when we meet her. And while the movie doesn’t answer the question, I’m glad it addresses it.

Now, while we’re on the topic of Alcock, our Aussie star has well and truly proved that she can carry a feature film. Any moments where the writing or plot may be lacking are saved by Alcock’s performance as a cynical anti-hero who knows the important difference between being good and nice.

She’s the perfect contradiction to David Corenswet’s Superman, who makes several cameos in the film, none of which are to save the day, thankfully, and the pair have an effortless chemistry as cousins.

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One character that felt a little unnecessary was Jason Momoa’s Lobo. It felt like perhaps he was thrown in the cast lineup to help the movie appeal to a wider audience rather than being too woman-centric.

He does serve as a useful prop toward the end of the film to prove that the often underestimated Ruthye is just as, if not more, capable than the immortal bounty hunter. But that, plus a few comedic lines aside, he just wasn’t really needed.

While James Gunn, famed director and co-CEO of DC, didn’t direct the film, you can tell that Craig Gillespie (I, Tonya) took some notes from his boss.

Supergirl almost feels as though it could fit into the Guardians of the Galaxy series. It has the same striking visuals, iconic soundtrack, and hardcore action sequences.

But it sets itself aside in where it finds its heart and humour, valuing the relationship between Ruthye and Supergirl above all else, and never punching down.

Aside from being a win for the often overlooked and undervalued female-led superhero films, Supergirl is genuinely an enjoyable cinema experience.

It’s no critic’s darling, and it does stumble at times, but I would dare to say it’s a crowd-pleaser that finally catapults Supergirl out of her cousin’s shadow.

If you’re expecting a flop, like I was, I’m begging you to check your own biases. Milly Alcock is the superhero that the DC cinematic comeback needed.

For someone on the wrong side of history, this movie might be their personal nightmare: strong and sassy young women with no need for a man to come save them.

But those on the right side of history will likely realise that Supergirl is precisely the movie the world didn’t know it needed in the age of superhero fatigue.