More signs it's looking bad for the live action Supergirl film

The reviews are in, and according to Warner Todd Huston at Breitbart, even leftist trade journals like Variety are appalled with the new live action take on Supergirl, describing it as follows:

Even the left-wing Hollywood press is turning against Warner Bros’ new summer superhero tent pole, Supergirl, calling the film “super-horrendous” with the “worst script” ever.

The review by Variety’s Owen Gleiberman was quite negative ahead of the film’s worldwide debut coming up on Friday. The Hollywood newser ripped the film as “pretentious” for it’s “punk rock attitude” that is “cringe.”

Gleiberman dismissed the film, writing, “here’s the key thing to know about Supergirl, the second outing from James Gunn’s DC Studios: The entire movie thinks it’s ‘punk rock.'” And that, Gleiberman says, is “cringe.”

“The film introduces us to Kara Zor-El (Milly Alcock), who rather than being the spunky Supergirl of legend, saving earthly lives in a primary-colored spandex suit, is an interplanetary drunk in a Blondie T-shirt (how punk rock!), bopping from one arid dystopia to the next,” Gleiberman explained.

What's additionally troubling is how the Girl of Steel's depicted as a drunkard, which Culture Mix talks about some more:

Supergirl spends most of her screen time in the movie being drunk, nearly drunk, or hung over. There are multiple scenes that are meant to make Supergirl into some sort of sad superhero emo girl, who uses alcohol because she’s got inner demons about being an orphan. It’s supposed to make her look sympathetic, but her repetitive drunkenness gets tiresome to watch after a while.

When it's that heavy-handed, something is definitely wrong, right down to how they're forcing Supergirl into the darkness, instead of offering an optimistic vision of a woman who could overcome any trauma she suffered and find happiness again. If this film lacks a sense of humor to boot, that's another major error. And the filmmakers may have screwed up with the following plotlines as well:

A trio of Sklarian raiders (played by blue-costumed Clara Rosager, purple-costumed Heather Agyepong and red-costumed Alice Hewkin) suddenly invade the bus because they want to steal Ruthye’s sword. A massive fight ensues, Supergirl suddenly exerts her superpowers (because she’s on a yellow light planet), and somehow she’s able to get these Sklarian raiders to tell her where Krem is. He’s on a planet where kidnapped girls are being held captive to be forced into marriage to men. For a superhero movie aimed at families, this pedophilia/child trafficking storyline is quite disturbing and might be inappropriate for viewing by children of a certain age.

Similarly, the movie has some murder scenes that are unsettling and sends hypocritical messages about revenge killings. Several times in the movie, Supergirl gets preachy with Ruthye, by lecturing her to not be consumed by vengeful anger because it will rot her soul. Supergirl literally tells Ruthye that killing Krem won’t be the answer to help Ruthie’s emotional pain.

And that’s why it’s a letdown to see what happens to Krem, because it’s the complete antithesis of Supergirl’s moralistic lectures. Why go to the trouble of having Supergirl hold herself up as taking the “high ground,” when she stoops to the level that she does by the end of this movie? The end fate of Krem is just lazy and formulaic. This movie is really trying to be a superhero version of “Mad Max” meets “Game of Thrones,” but the nihilistic themes in “Mad Max” and “Game of Thrones” just don’t work in a “Supergirl” movie.

There's 2 things that can be said about the above: one, the chances the plotline with slave girls is a metaphor for Islam's support for child-trafficking are very slim. Two, if murder scenes are what the screeplay is built upon, that too is pretty alienating. Let's also recall James Gunn, who's one of the producers of this film, turned out to have made some very offensive jokes among other horrific deeds in the past decade, and also injected a repellent metaphor for Israel into last year's Superman film, which is why he's unqualified to explore the aforementioned themes in the movie. At the end of this review, it also notes that:

Don’t expect any mid-credits or any end-credits scenes to hint how this story might continue, because there are no mid-credits or end-credits scenes in “Supergirl,” probably because the filmmakers ran out of ideas for this underwhelming superhero movie. And there’s no better example of how far off the mark “Supergirl” is than the fact that it isn’t until about 80 minutes into this 108-minute movie before Supergirl is seen in her full iconic superhero costume. “Supergirl” spends so much time trying to prove that Supergirl has an identity crisis, the entire story loses its way in its own identity crisis that falls short of what a great “Supergirl” movie should be.

Ah, that's got to be another huge mistake the scriptwriters made: they take forever to show Kara donning her costume - which looks pretty dull in terms of color here - and only so much time depicting her as a drunkard, while her powers oscillate between stronger and weaker in ways that don't avail. The filmmakers also made the unpardonable error of adapting the script of the overrated Tom King's miniseries, and if that's how it's going to be, you can't be shocked when things go into freefall. A leading error in the film's making has to be that the screenwriters didn't have the creative autonomy to develop their own story free of editorial mandates. And it looks like we'll be seeing the sad results soon at the box office.

Once again, as in 1984, the Maid of Might and her creators (Otto Binder and Al Plastino) have been done a terrible injustice. With the worst part being that the filmmakers - and even modern comics writers - are unlikely to apologize for what they've led to, no matter the box office results.