DC Studios’ Supergirl was released at the end of June, and the weight of her cape continues to get heavier as ticket sales plummet and industry attention shifts to commercial performance. This isn’t the first time we’ve seen negative reviews about a female superhero movie. As a matter of fact, Dakota Johnson quite literally left her own agency days after the Madame Web trailer was released, after it was clowned for its inconsistent storytelling and uninteresting characters.
Unfortunately, Supergirl only grossed $38 million domestically during its opening weekend, disappointing creators after they spent $170 million on production and a substantial amount on promotion. As enthusiasm for superhero films is declining overall, studios are becoming much more selective about the heroes they put on screen. This outcome not only challenges the misconception that female-led superhero films cannot succeed, but also has the potential to shape how confidently studios invest in future female-led comic book adaptations.
Directed by Craig Gillespie, Supergirl follows Kara Zor-El (Milly Alcock), Superman’s cousin, as she grapples with survivor’s guilt after the destruction of Krypton, her home planet. On a night out, Kara meets Ruthye Marye Knoll (Eve Ridley) at a bar, where she finds Ruthye begging patrons to help her avenge the murder of her family by Krem of the Yellow Hills. After Krem starts wreaking havoc and puts Krypto, Kara’s dog, in danger, Kara embarks on the journey to get the cure Krypto needs. Essentially, her mission becomes a search for justice and self-discovery as she confronts her past and finds her identity apart from Superman.
First off, way to downgrade! Multiple reviews criticize the movie for feeling familiar and argue it borrowed elements and visuals from other Marvel and DC movies. It didn’t stand out. Based on the trailer alone, you can tell the narrative confidence isn’t as present as it is in trailers like its predecessor, Superman (2025). As the second film in the DC Universe, Supergirl was inevitably going to be measured against James Gunn’s Superman. Based on the majority of early reviews, however, many fans and critics have found the film falls short of those expectations. Fans complain that the writing has become lazy, and even the visuals in this movie were lackluster compared to the source comics. Critics also agree that Supergirl’s VFX looks rough, and that during the final action sequence, the characters stand on noticeably fake backgrounds. Directors seem to be more focused on visual effects and promotion, especially given the robust promotional budget. And to top things off, our villain, Krem, is pretty boring. A superhero movie must have a strong villain; if not, the thrill of the film is punctured. Overall, most moviegoers are not impressed with this new Supergirl.
Thinking back to Wonder Woman’s 2017 debut, I remember being so excited to go see it, but seeing my mom’s reaction was even better. She and millions of people felt like kids on Christmas Day. Earning more than $820 million worldwide against a $150 million production budget, it exceeded industry expectations and set a new standard for female superheroes. The years that followed proved to be less consistent. Madame Web, Birds of Prey, and The Marvels didn’t generate enough profit to be box office hits. The Marvels had a particularly expensive budget of about $270 million and grossed $206.1 million worldwide, meaning it earned only about 80% of what it cost to make. After seeing these results, I question why these female superheroes can’t seem to stay afloat at the box office.
Wonder Woman earned a sequel, but its mixed reception complicated future plans. Captain Marvel became part of a broader ensemble before receiving a follow-up. Supergirl could influence DC’s willingness to continue prioritizing female-led projects within its rebooted universe. It seems as though DC is lacking in its character development, compelling villains, and creative risks. This makes me ask: what makes something entertaining? Most likely, it’s the shock factor. Moviegoers want to see something they haven’t seen before. The issue becomes more complex when studios rely on the same creative formula for superhero films, assuming that repeating a proven approach will continue to produce commercial success.
Even amongst such harsh competition in theaters today, with the release of movies like Obsession, Backrooms, and Toy Story 5, most would expect a decent turnout for the newest superhero movie. The future of superhero cinema may depend less on whether audiences want female heroes and more on whether studios give them the same opportunities, resources, and room to grow as their male counterparts.
