All articles tagged with #milly alcock
Helen Slater, who starred in the 1984 Supergirl film, defended Milly Alcock’s performance in the new movie, praising her as fierce with strong comic timing, as the film faces mixed reviews and a $38 million domestic debut with projected losses around $100–120 million for Warner Bros. Slater also recalled her own film’s flop and noted there were no sequels planned.
Original Supergirl star Helen Slater praises Milly Alcock’s performance in the new Supergirl film, calling her fierce with strong comic timing, while reflecting on her own training for the 1984 movie and a de-aged cameo in The Flash. The piece notes the film’s domestic opening of about $37 million, described as a box-office setback not meeting DC Studios’ initial hopes, and underscores Slater’s view that reinterpretations keep timeless myths alive.
An opinion piece argues the online backlash to Supergirl isn’t about the film’s quality but a broader culture-war narrative driven by pundits and Milly Alcock’s press tour; while the film has legitimate flaws, the discourse often targeted Alcock’s identity rather than performance, and audiences reportedly responded more positively than critics (about 77% vs 58%), urging viewers to judge the movie on its own merits rather than hype.
Supergirl opened with a domestic box-office take of about $37.1 million, lower than early projections and behind Joker: Folie à Deux's $37.6 million debut. The softer start has DC Studios facing questions about the DCU’s trajectory, though executives say the long-term strategy remains intact; with a production budget around $170 million and substantial marketing costs, this is a hurdle rather than a verdict on the DCU's future.
DC Studios co-CEO Peter Safran says he remains confident in the long-term slate after Supergirl opened to $38 million domestically and about $68 million globally on a $170 million budget, underperforming pre-release projections around $50 million. The film, led by Milly Alcock and directed by Craig Gillespie, is the second major project in the Safran–Gunn era, with future titles like Clayface and Man of Tomorrow on the horizon as part of a broader strategy.
Toy Story 5 is projected to finish first at the domestic box office this weekend with about $72.5 million, while DC/Warner Bros.’ Supergirl opens in second with around $40 million; Friday previews pegged Toy Story 5 at $21.5 million as it continues its family-friendly run, with the superhero film buoyed by Milly Alcock’s lead and a global footprint from Superman, and other wide releases like Jackass: Best and Last and Obsession following in the top five.
In a candid Variety interview, Milly Alcock reflects on the leap from playing Rhaenyra in House of the Dragon to starring as Supergirl in the DCU, detailing her remote audition from Australia, months of stunt training, the trust she built with director Craig Gillespie, and how she’s navigating the fan backlash that comes with genre stardom while aiming to inspire young audiences and manage personal growth (including her ADHD diagnosis) along the way.
The Hollywood Reporter notes Supergirl, directed by Craig Gillespie and led by Milly Alcock as Kara Zor-El, opened to $7.8 million from Thursday previews, kicking off Warner Bros./DC’s new slate. The weekend also sees Jackass: Best and Last debut with $1.2 million in previews and is tracking around $10 million domestically. Reviews are mixed, with some critics praising Alcock’s hard-edged lead while others call the film an uninspired slog. The film’s cast includes Jason Momoa as Lobo and David Corenswet returning as Superman.
DC's Supergirl opened with $7.8 million in previews and is projected to debut around $47–50 million domestically, with about $13 million earned globally so far; the $170 million film faces rough reviews and tough competition from Toy Story 5, marking a test for James Gunn's DC Universe.
Milly Alcock is praised for her Supergirl performance, but critics largely dismiss the film for its weak script and muddy VFX, with opening buzz around $50M; the piece also flags a marketing-influencer gap. By contrast, House of the Dragon Season 3 is deemed an improvement, and Apple is highlighted as a winner for continuing to invest in high-quality content.
Slate’s Dana Stevens praises Milly Alcock’s Kara but argues the Supergirl follow-up falls into familiar superhero traps: a dull villain, muddy CGI, and an underused Lobo, with a tonal mismatch that even a darker subplot about kidnapping young women for breeding can’t redeem. The piece suggests the DCU needs stronger direction from James Gunn to live up to the promise of Superman, leaving open the door for future installments.
Post-premiere reactions to Supergirl are mixed to negative overall, with Milly Alcock praised for her Kara but criticisms aimed at the story, pacing, and certain performances (notably Jason Momoa as Lobo); some call it a captivating sister story and a fast-paced space western, while others find the film underdeveloped and visually or tonally uneven, suggesting cautious optimism for DC Studios despite box-office uncertainty.
David Corenswet intervened on the Supergirl premiere red carpet after a photographer touched Milly Alcock, stepping toward Alcock and addressing the photographer while Alcock and fellow cast members looked on. The moment, captured in a viral clip, drew praise for Corenswet’s quick, protective response; Alcock stars as Supergirl Kara Zor-El in the new DC Studios film, with Corenswet playing Clark Kent/Superman in the same universe.
David Corenswet defended Milly Alcock from a photographer at the Supergirl premiere in New York, stepping between them on the red carpet; fans hailed him as a real-life Superman as Alcock leads the film, with the DC movie (in which Corenswet plays Clark Kent/Superman) premiering June 26.
David Corenswet confronted a photographer who touched co-star Milly Alcock’s back on the Brooklyn red carpet, stepping between Alcock and the press and telling the photographer to back off. The moment, captured on video and shared online, sparked debate about photographers’ conduct at premieres and underscores shifting norms in red-carpet coverage amid social media scrutiny.