“Supergirl,” the newest addition to James Gunn’s revamped DC Cinematic Universe, was released in theaters late last month. Unlike last summer’s “Superman,” the film fell overwhelmingly short of viewers’ expectations.
The film follows Kara Zor-El, better known as Supergirl, played by Milly Alcock, as she seeks intergalactic vengeance on space pirates who kidnap her dog, Krypto. Alongside Kara is 13-year-old Ruthye, played by Eve Ridley. The two team up in pursuit of revenge against the space pirates who wronged them.
A noticeable difference from previous DC movies is found in the directing. Gunn directed “Superman” as his second official film in the DC world after “Suicide Squad,” but handed off “Supergirl” to director Craig Gillespie. This was an important milestone for the DC universe, as Gunn is the co-head of DC Studios, actively attempting to revamp the universe after its reboot with “Superman.”
Before Gunn’s revamp, the DC Extended Universe had lots of continuity issues with films like Christopher Nolan’s “The Dark Knight” trilogy existing in its own separate timeline, while other movies with the same Batman character, like the 2016 “Suicide Squad,” existed within the DC timeline.
Gillespie is an Australian director most famous for directing “I, Tonya” and “Lars and the Real Girl.” Gillespie’s “Supergirl” visually lacks in comparison to the comic because of its differences in lighting and typical aesthetic.
The comic is visually captivating, with bright colors that create a whimsical feeling. However, the movie had a hard time balancing Kara’s grief with her party girl personality. While Kara is meant to be dealing with the loss of her home planet and parents, she is traditionally not a gloomy character.
In the film, Kara finds herself in a grimy tavern fighting aliens who challenged her to an arm wrestle. The scene is dimly lit and the tavern itself is in disarray behind her. This poorly lit scene contrasts sharply with the traditional nostalgic feel of the comic.
According to the Hollywood Reporter, Gillespie and Gunn found themselves at odds often and were “not creatively aligned.” Two different editors found themselves working on the film, Gillespie’s pick, Tatiana S. Regel, and Gunn’s editor, Fred Raskin.
Raskin was brought in during the later stages of production and reportedly reworked the movie completely. This may explain why the structure of the movie seems disjointed.
The change led to confusing pacing, with the main conflict being the kidnapping of Supergirl’s dog, Krypto, at the beginning of the movie. The audience does not learn about Kara and Krypto’s bond until about halfway through the film, weakening the emotional stakes of their relationship.
Another divisive aspect was the conflicting needle drop, which is when a filmmaker uses an already popular song to signify a big or iconic moment in a movie. Gunn has made himself known as the “king of needle drops,” and either Gillespie couldn’t emulate that, or the needle drop found itself the victim of another creative difference.
“Call Me” by Blondie was used throughout the marketing for the films, leading many fans to speculate this would be an important song for the movie. The final version went in a different direction with Kelty Greye’s cover of “The Middle” by Jimmy Eat World, which creates an immensely different vibe than “Call Me.”
Blondie’s “Call Me” is considered new wave pop-rock and is considerably upbeat. However, the cover of Jimmy Eat World’s “The Middle” is stripped down and melancholic in comparison. While the song is about not seeking outside validation, Greye’s voice brings a delicacy to the song which plays in the biggest fight scene featured in the film.
“Supergirl” is not DC’s worst movie by far, but is a disappointing addition to Gunn’s collection. Given Gunn’s track record, it is easy to imagine a version of the film that could have been more cohesive. Instead, it is a film that suffers from clashing directorial visions.
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