---
title: "Supergirl"
year: 2026
kind: "film"
canonical: "https://film.one/film/supergirl"
fi1m_id: "supergirl"
imdb_id: "tt8814476"
tmdb_id: 1081003
wikidata_id: "Q116921951"
fi1m_score: 56
critics_score: 55
critics_reviews: 15
published: "2026-09-09"
updated: "2026-09-18T08:37:42.564604+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Supergirl (2026)

Directed by Craig Gillespie · 1h 48m · MPA PG-13 · Action, Adventure, Science Fiction

## Identity

Supergirl

- **Canonical:** https://film.one/film/supergirl
- **Type:** Film
- **Fi1m ID:** supergirl
- **IMDb ID:** tt8814476
- **TMDB ID:** 1081003
- **Wikidata ID:** Q116921951
- **Same entity:** https://www.imdb.com/title/tt8814476/, https://www.themoviedb.org/movie/1081003, https://www.wikidata.org/wiki/Q116921951

**Fi1m score: 56** · Critics 55 from 15 reviews

*In a sentence:* A hungover god crosses the galaxy for a dog, and the film is mostly the hangover

> Milly Alcock is a sour, tired, believable Supergirl and the film around her cannot keep up. A simple revenge plot, a child, a dog and three editors, and the fights are still too dark to follow.

## Synopsis

Kara (Milly Alcock) is Superman’s cousin, drinks more than someone with her powers should, and is nursing a hangover when a girl called Ruthye (Eve Ridley) finds her. Ruthye wants a man named Krem (Matthias Schoenaerts) dead, and she has her reasons. Krem has also taken a dog that Kara wants back, so the two of them set off after him across a run of grubby moons and bars, crossing paths with the bounty hunter Lobo (Jason Momoa). Flashbacks return to Kara’s parents, Zor-El (David Krumholtz) and Alura In-Ze (Emily Beecham), and the world she lost. David Corenswet’s Superman appears. Craig Gillespie directs from a script by Ana Nogueira; it runs 108 minutes and carries a 12A.

## Review

Craig Gillespie’s *Supergirl* keeps its plot small, and it is right to. Kara (Milly Alcock) is woken from a hangover by a girl called Ruthye (Eve Ridley) who wants a man named Krem (Matthias Schoenaerts) dead, and Krem happens to have a dog Kara wants back, so off they go. That is the whole of it. Ana Nogueira’s script has a good shape, a revenge story with a child in it, and then fills the shape with people saying the obvious thing in the flattest available way. The film is likeable in outline and dull in detail, and the detail is where we spent 108 minutes.

Alcock is the reason to see it, and most critics have said so, which for once is fair. She plays Kara as someone who has lost a world and dealt with it by getting drunk in other people’s bars, and she never asks to be liked. The slouch, the flat stare, the way she takes a punch as an inconvenience: it is a proper physical performance. When the film gives her a quiet scene with Ridley, who is watchful and does not play cute, the two of them are worth the ticket. It does not give them enough of those scenes.

The flashbacks are the other thing that works. David Krumholtz and Emily Beecham play Kara’s parents, Zor-El and Alura In-Ze, in a handful of scenes on a world that is ending, and they got at us more than we expected. Krumholtz plays a father who knows what is coming and cannot say it, and the second of these scenes left us with a lump in the throat we had not budgeted for. Then the film cut back to a fight in the dark, and the feeling had nowhere to go.

About the dark. Rob Hardy shoots the bars and back streets in browns and greys with faces half in shadow, and the idea is plain enough: a Supergirl film that looks like the morning after. The trouble is that the action happens in the same light and is cut by three editors, James Gunn, Fred Raskin and Tatiana S. Riegel, into pieces so short we often could not say who had hit whom or from which side. Neil Lamont’s sets, rust and scaffold and bad lighting, are more interesting when the camera holds still than the film ever lets them be in motion. Claudia Sarne’s score does more to hold the chases together than the cutting does.

Schoenaerts plays Krem as a tired man rather than a monster, which is a sensible choice the script never rewards; he is given nothing to want beyond staying ahead of us. Jason Momoa’s Lobo arrives, shouts, and leaves, and the film seemed as unsure as we were what he was for. Anna B. Sheppard and Michael Mooney dress Kara down, in worn layers rather than a shining suit, and it suits Alcock better than anything in the dialogue does. David Corenswet’s Superman appears and is polite.

Gillespie made *I, Tonya* (2017) and *Cruella* (2021), two films that let awkward, angry women be funny about their own damage. Kara should have been his. But the wit is missing here; the tagline promises “Whatever” and the film keeps stopping to explain that it means it. Against the run of these films it is neither the worst nor a reason to stop making them. It does not waste our time so much as under-use it.

Go for Alcock, if you go. Sit near the front, because the fights are dark enough that the back row will see a brown rectangle with noises coming out of it. And if you find yourself, around the hour mark, wanting the film to stop and let its two women talk, you have found the better film the script kept walking past.

*Fi1m score 56, published 9 September 2026.*

## What the critics say

Most critics agree on one thing: Milly Alcock. The reviews return again and again to her hard-partying, fed-up Kara, and several say she is the only reason to see the film. Agreement stops there. The spread is wide, from warm to hostile, with the largest group in the middle. The reservations cluster around the script and the direction: dialogue described as flat, a plot too small for its cosmic setting, action sequences that are hard to follow, and a general sense that the film plays it safe where Superman took risks. Sight and Sound finds it faithful to the comic but colourless; Variety goes further and calls the writing terrible and the punk pose desperate. The warmest notices come from IndieWire, which likes its grimy, small-scale independence from the franchise, and Collider, which thinks fans get a definitive Supergirl. Most others land somewhere between likeable and underwhelming.

## Straight answers

**Is Supergirl worth watching?**

*Supergirl* is a mixed film with one good reason to see it, Milly Alcock, and we scored it 56. She plays Kara as sour, tired and believable, and her quiet scenes with Eve Ridley are worth the ticket, but the action is cut too fast and shot too dark to follow. Go for the lead, sit near the front, and expect the film around her to lag.

**How long is Supergirl, and what is it rated?**

*Supergirl* runs 1h 48m and is rated PG-13 by the MPA in the US. It is an action and adventure film.

**Where can I watch Supergirl in the US?**

*Supergirl* is streaming on Hulu and Amazon Prime Video in the US, and it is also available to rent from Amazon Prime Video from $6.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Supergirl, and is it suitable for children?**

*Supergirl* carries a UK 12A, so it is fine for most children of about ten and up with an adult, and is not a frightening film. It is a revenge story built around a child, and its heroine drinks heavily and takes punches as an inconvenience, so parents of younger children should weigh that. The fights are more murky than graphic; the review's complaint is that they are too dark to see, not too bloody.

**How does Supergirl compare to True Grit?**

*Supergirl* borrows the shape of [*True Grit*](https://film.one/film/true-grit), a girl hiring a drunk to hunt a killer, and *True Grit* is the better film by some distance. The Coens' western is funny and stern, with Steinfeld holding her ground against Bridges and Damon; *Supergirl* has a comparable pairing in Alcock and Ridley but keeps cutting away from it to dim, choppy fights. Watch the western first, and *Supergirl* only if superhero grit is your genre.

**What should I watch after Supergirl?**

After *Supergirl*, try [*True Grit*](https://film.one/film/true-grit) (2010, Fi1m 84): A girl hires a drunk to hunt a killer; the story this one is borrowing. Then [*I, Tonya*](https://film.one/film/i-tonya) (2017, Fi1m 70): Gillespie letting an angry woman be funny about it, which he forgot to do here; and [*Logan*](https://film.one/film/logan) (2017, Fi1m 83): A tired hero, a fierce child and a road; the same shape, done properly.

### Reviews we read (21)

- **IndieWire**, Kate Erbland (B+): Milly Alcock delights as a sardonic Supergirl who forges her own path in a grimy, small-scale adventure that avoids Superman's tone. The film is praised for its character focus and independence from franchise expectations. [Read](https://www.indiewire.com/movies/reviews/supergirl-review-milly-alcock-craig-gillespie/)
- **Empire**, Leila Latif (65/100, inferred): The film is a lively but not entirely convincing space opera that plays it safe, offering only diet-James Gunn instead of bolder swings. Milly Alcock's hungover, hard-partying Supergirl is delightful and the origin flashbacks are heartbreaking, but the thin plot and lack of scene-stealing supporting cast leave it blandly safe overall. [Read](https://www.empireonline.com/movies/reviews/supergirl-2026/)
- **Time Out**, Olly Richards (3/5): The review calls the film safe, fun and easy to watch with a trim running time but ultimately undistinguished. It singles out the simple dog-saving mission and Alcock's authentic fed-up presence for praise. [Read](https://www.timeout.com/movies/supergirl-review-2026)
- **Screen Daily** (50/100, inferred): The review describes a likeable but underwhelming sci-fi adventure that only sporadically shows its protagonist at her best. Milly Alcock is praised for having the chops and gravity for the role. [Read](https://www.screendaily.com/reviews/supergirl-review-milly-alcock-impresses-as-the-sardonic-superhero-but-latest-dc-adventure-fails-to-soar/5217988.article)
- **Radio Times**, Jeremy Aspinall (2/5): The critic deems it an underpowered and underwhelming superhero flick. Alcock's grunge aesthetic and attitude are highlighted as rising above the weak script and direction. [Read](https://www.radiotimes.com/movies/scifi/supergirl-review-milly-alcock-dc-universe/)
- **The Telegraph** (2/5): The moody heroine and flat dialogue make the film a chore, wasting Milly Alcock's talents despite some dynamic action sequences and amusing supporting turns. [Read](https://www.telegraph.co.uk/films/2026/06/24/supergirl-review-milly-alcock/)
- **The Observer**, Wendy Ide (30/100, inferred): The film is a disappointing, generic effort with an uneven script and poor pacing that fails to do justice to Milly Alcock's strong performance as a messy but heroic Supergirl. [Read](https://observer.co.uk/culture/film/article/wendy-ides-pick-of-other-films-supergirl-the-last-viking-the-furious-and-more)
- **Vulture** (30/100, inferred): Alcock's hard-partying, depressive Supergirl is likable, but the movie itself is uninspiring and minor, lacking direction or purpose for the character. It suffers from being directed and written by others besides James Gunn, resulting in a visually murky and tonally off effort. [Read](https://www.vulture.com/article/review-supergirl-is-fun-but-supergirl-is-a-real-letdown.html)
- **Los Angeles Times**, Amy Nicholson: The critic calls it a hot mess with a rowdy spirit but too-terrestrial plot; she singles out Alcock's wildling Supergirl as the one reason to see the film while complaining about impossible-to-follow action shots and conventional storytelling. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-06-24/supergirl-review-milly-alcock-jason-momoa-david-corenswet-craig-gillespie)
- **Sight and Sound**, Kim Newman: The critic finds the film a faithful but colourless adaptation of the comic that lacks conviction overall. Alcock's performance is singled out as strong enough to carry the movie through its weaker stretches. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/supergirl-milly-alcock-carries-this-movie-her-cape)
- **The Guardian**: The film is a relief as a clear, self-contained DC superhero story without heavy backstory. It praises Milly Alcock's lead performance and the focused adventure involving revenge and a kidnapped dog. [Read](https://www.theguardian.com/film/2026/jun/24/supergirl-review-milly-alcock-eve-ridley)
- **The Hollywood Reporter**: The critic finds the film leaden and on autopilot despite Milly Alcock's appealingly punky performance as a flawed, chaotic Kara. It fails to deliver emotional depth or engaging action in its interstellar story. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/supergirl-review-milly-alcock-jason-momoa-dcu-1236629004/)
- **The New York Times**, Manohla Dargis: The critic finds the film derivative but watchable thanks to Milly Alcock's appealing performance as Supergirl; she singles out Alcock's ability to rise above the fray with a performance that never feels borrowed. [Read](https://www.nytimes.com/2026/06/25/movies/supergirl-review.html)
- **Variety**, Owen Gleiberman: The critic pans the film as flat and super-horrendous with a terrible script and desperate 'punk rock' pretension; he singles out the generic action, poor writing, and lack of wit from director Craig Gillespie for complaint while noting some energy from supporting cast. [Read](https://variety.com/2026/film/reviews/supergirl-review-milly-alcock-1236788124/)
- **Collider**, Therese Lacson (8/10): The critic calls it a fantastic film that solidifies the DCU and gives fans the definitive version of Supergirl. Milly Alcock's performance as the messy, grieving Kara is singled out for praise as perfectly embodying the character. [Read](https://collider.com/supergirl-movie-review-dc-woman-of-tomorrow-milly-alcock/)
- **Consequence** (B-): The review finds the film lacks riot grrrl energy and feels more Spice Girls, with a character-focused approach that stays too small despite its cosmic scope. Milly Alcock's performance is praised for bringing heart and spark to the lead role. [Read](https://consequence.net/2026/06/supergirl-review-milly-alcock-jason-momoa/)
- **NME**, Matt Maytum (70/100, inferred): Alcock delivers an exceptional performance as a relatable, imperfect Supergirl in this fun, low-stakes revenge tale with humor and a grungy aesthetic, though the film lacks oomph in action and supporting elements. [Read](https://www.nme.com/reviews/film-reviews/supergirl-review-milly-alcock-jason-momoa-superman-krypto-3952996)
- **Den of Geek**, Nadya Martinez (3/5): The critic praises Milly Alcock's charismatic, punk rock performance as Supergirl but finds the film shallow and uneven, losing emotional depth from the source comic despite strong visuals and worldbuilding. [Read](https://www.denofgeek.com/movies/supergirl-review-milly-alcock/)
- **Polygon**, Tasha Robinson (60/100, inferred): The critic finds it a solid but unexceptional superhero drama that replicates the James Gunn formula without the same verve or ambition as Superman. Milly Alcock's charismatic, layered performance as Kara is highlighted as the film's saving grace amid familiar story beats and thinly written supporting characters. [Read](https://www.polygon.com/supergirl-review-james-gunn-formula-dcu/)
- **The Wrap** (55/100, inferred): The review notes the film's messiness in action sequences and the awkward inclusion of Lobo, but praises Milly Alcock's performance and the emotional core about doing good and dealing with trauma. [Read](https://www.thewrap.com/creative-content/movies/supergirl-review-milly-alcock-dc/)
- **Deadline**, Pete Hammond (45/100, inferred): The critic finds the film doesn't quite succeed as a superhero origin story, with too much dark tone and special effects getting in the way of character moments, though praising some performances like Jason Momoa's Lobo and the score. The main complaint is relegating the fun CGI dog Krypto to a mere plot device. [Read](https://deadline.com/2026/06/supergirl-review-dcs-female-answer-superman-doesnt-fly-high-1236965872/)

## Details

- **Director:** Craig Gillespie
- **Director:** Craig Gillespie
- **Writer:** Ana Nogueira
- **Cinematography:** Rob Hardy
- **Editor:** Tatiana S. Riegel, Fred Raskin, James Gunn
- **Music:** Claudia Sarne
- **Production design:** Neil Lamont
- **Costume design:** Anna B. Sheppard, Michael Mooney
- **Producer:** James Gunn, Peter Safran
- **Cast:** Milly Alcock as Supergirl; Eve Ridley as Ruthye; Matthias Schoenaerts as Krem; Jason Momoa as Lobo; David Krumholtz as Zor-El; Emily Beecham as Alura In-Ze; David Corenswet as Superman; Kadiff Kirwan as Bomar Vran
- **Runtime:** 1h 48m
- **Certificate (MPA):** PG-13
- **Release (the US):** 26 June 2026
- **Genres:** Action, Adventure, Science Fiction
- **Budget:** $175 million
- **Box office:** $126 million
- **Trailer:** https://www.youtube.com/watch?v=rbLyjarG_bU

## Where to watch in the US

- Hulu: add-on, hd
- Amazon Prime Video: add-on, uhd
- Amazon Prime Video: rent $6.99, uhd
- Amazon Prime Video: buy $12.99, uhd

*Checked 2026-09-10.*

Also available in: AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IS, IT, JP, LT, MX, MY, NL, NO, NZ, PH, PL, PT, RO, RS, SE, SG, SI, TH, UA, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *True Grit* (2010), Fi1m 84: A girl hires a drunk to hunt a killer; the story this one is borrowing. — [Fi1m page](https://film.one/film/true-grit.md)
- *Lady Snowblood* (1973): Revenge across a whole country, shot in colours this film could not find in the dark.
- *I, Tonya* (2017), Fi1m 70: Gillespie letting an angry woman be funny about it, which he forgot to do here. — [Fi1m page](https://film.one/film/i-tonya.md)
- *Logan* (2017), Fi1m 83: A tired hero, a fierce child and a road; the same shape, done properly. — [Fi1m page](https://film.one/film/logan.md)
- *Guardians of the Galaxy* (2014), Fi1m 80: The Gunn template for grubby space and bad company, with the jokes still attached. — [Fi1m page](https://film.one/film/guardians-of-the-galaxy.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/supergirl