‘Supergirl’ needs rehab
“I’d like to start a chapter of a society called Film Critics Against Drunk Characters.” – Gene Siskel
Well, Gene (hope you and Roger are looking down on us from that balcony up high), after Supergirl, count me in. In fact, expect membership in this group to increase tenfold.
Coming across like a Sofia Coppola remake of Hancock, the 2026 starring vehicle for the Woman of Tomorrow will make one look back fondly on the 1984 film.
Our title heroine (Milly Alcock) is now 23 and wants to celebrate. She needs to be wherever in the universe there’s a red sun so that she can feel the effects of alcohol. Why, you might ask? Unlike her distaff counterpart/cousin (David Corenswet), Kara Zor-El, as she was known then, was able to live with her parents (David Krumholtz and Emily Beecham) and fellow Kryptonians for many years before having to witness their demises and make her escape. It is unclear exactly how long ago that was, but apparently recent enough that the pain is still fresh.
It’s at one of these fine drinking establishments that she runs into Ruthye (Eve Ridley). The young girl seeks revenge against the villain Krem (Matthias Schoenaerts) for murdering her family. Seeing the kid be mocked and harassed by others there gets Kara (here pronounced “car-a,” not like it rhymes with “Sarah”) off her behind and helps the poor kid out.
The decision to opt for a space adventure over an earthbound story was a wise one. Not just because we just had the latter in Superman 2025, but also because it lets the makers be more creative with sets and characters. This is where we can have Lobo (Jason Momoa) show up here and there to lend a hand. It’s fun to see him, and Momoa getting this role is a dream casting come true. Alcock is good here, too. Not Melissa Benoist good, but good nonetheless.
However, as the start of this review suggested, it’s no fun seeing her as a drunk moron. Yes, misbehavior has always been a part of the character from the beginning, but this is a little too much. It sets her apart from Superman, yes, but not from every other cynical, snarky clown in films like this. Some of her material is even directly ripped from Peter Quill.
Speaking of which, this film needlessly features a pop-rock soundtrack with acquired songs. Even in the far reaches of space, they apparently listen to the same stuff we do on Earth. I get that this is some kind of trademark of both director Craig Gillespie and producer James Gunn, but guys, it needs to make sense. If we’re out in strange alien worlds, let’s hear some strange alien music. Imagine in the bar of the original Star Wars, instead of the band with the craniopod clones, the place had a stereo sound system that played disco. Not really the same, is it?
As portrayed in this picture, Supergirl seems to be asexual (so no, Milly, as sweet of you to say that as it was, she does not “go both ways” when she doesn’t go any way). This is fine in a vacuum, but, with the exception of Wonder Woman, this has been the default for leading female superheroes over the past decade or so. Given that trend, this feels completely inorganic and reeks of toeing the line. Helen Slater and Hart Boechner aren’t exactly among the iconic screen couples, but it’s at least something.
No, this Kara’s one true pairing is with booze. Now, a superhero Leaving Las Vegas could have yielded a highly interesting movie; if only the makers had anything to say. For such a major element of film, there is nothing new or profound said about alcoholism here. The protagonist makes no significant growth by the end, and even contradicts the one moral of the story.
I’m not sure what it is about this particular character that, despite going in a completely different direction than the try from four decades ago, history has repeated itself. Given the interconnected universe, there’s a good chance that we will be seeing Alcock again somewhere down the line (assuming there will be a down the line). Hopefully by then she’ll have started on her twelve steps.
