James Gunn isn’t exactly crushing it.

Named co-chairman and chief executive officer of the newly formed DC Studios in 2022, the “Guardians of the Galaxy” filmmaker wrote and directed the division of Warner Bros. Discovery’s largely disappointing “Superman,” released last year.

This week, DC Studios’ second big-screen affair, “Supergirl,” lands in theaters with similarly underwhelming results.

Starring Milly Alcock as the movie’s namesake Kryptonian heroine — who also goes by Kara Zor-El and is the cousin of David Corenswet’s Superman/Clark Kent/Kal-El — “Supergirl” isn’t distractingly zany the way its 2025 sister film was. Instead, it’s tonally boring, a chore of a movie chock full of thinly drawn characters and increasingly bombastic and violent.

To be clear, Gunn isn’t at the helm for “Supergirl.” Instead, it’s the typically dependable Craig Gillespie (“I, Tonya,” “Cruella”), working from a script by Ana Nogueira, making her less-than-impressive feature-writing debut.

This planet-hopping adventure in the new DC Universe isn’t a complete space wreck, however, thanks largely to the spunky performance by Aussie Alcock, best known for portraying the younger Rhaenyra Targaryen in the early episodes of HBO’s “House of the Dragon.”

When we catch up with Kara, she’s basically as we left her late in “Superman”: a super-sized mess. She’s out with her beloved, rambunctious dog, Krypto — the peppy and powerful pup having already been a major player in “Superman” — and enjoying a 23rd-birthday pub crawl among planets under a red sun. (Quick reminder: Supergirl, like Superman, draws her incredible powers from a yellow sun, like Earth’s, so she’s at least vaguely normal under a red sun and, importantly, can become intoxicated. The color of suns is a major factor throughout “Supergirl,” and it’s the movie’s most inventive narrative element.)

It is on such a world where a drunken Kara encounters 13-year-old Ruthye Marye Knoll of the Danastia Clan (Eve Ridley), whose family has just been brutally slain by the ruthless Krem of the Yellow Hills (Matthias Schoenaerts). Understandably, Ruthye wants revenge against Krem — leader of the Brigants, a band of male pirates and traffickers — and can think of little else.

She’s offering anyone who will help a sword made by her family of skilled weapons makers. The beyond-buzzed Kara isn’t interested, but she gets involved when a scumbag type tries to take the sword. She continues to do her best to fend off Ruthye’s subsequent pleas for assistance in her quest to kill Krem, but when the baddie — in the process of stealing her floating RV of a spaceship — shoots a charging Krypto with a poison dart, Kara has designs on punishing him, too. In fact, she needs to retrieve the specific antidote Krem carries with him to save her four-legged bud.

And so the gals are off to other worlds, initially traveling via the space equivalent of a beat-up Greyhound bus, on which they run into a trio of pillaging Sklarian Raiders. The sequence in which Kara retrieves stolen possessions and extracts information from them is as zany as “Supergirl” gets.

As their trek through the stars warps on, Kara and Ruthye encounter Lobo (Jason Momoa, seemingly leaving his Aquaman character back in the defunct DC Extended Universe), a rough-and-tumble, motorcycle-riding bounty hunter. They team up — sort of, eventually — but their alliance of convenience is one of the flick’s myriad plot threads that fail to tie into a sturdy knot.

The screenplay by Nogueira — an actor who’s penned a pair of plays — attempts to explore why Kara is so jaded by taking us back to her childhood in the Kryptonian city Argo, protected by her father’s tech after the planet’s demise. Of course, that protection proved to be temporary, or she wouldn’t have eventually been sent to Earth like her cousin before her. It's lukewarm fare, with Kara eventually learning the familiar Spider-Man lesson — with great power comes great responsibility.

Gillespie adds a few nice touches from the director’s chair throughout the movie, but they’re too little to elevate the proceedings.

Again, Alcock — whose credits also include the recent Netflix limited series “Sirens” — does what she can with the material. It’s a demanding role, as she is onscreen for most of the movie, and is spirited in it.

Unfortunately, the lesser-known Ridley — making her feature debut following a few television appearances — is given even less to work with. We never learn much about the one-note Ruthye beyond that her family was killed in her presence and that she is really upset about it.

If you’re expecting the always-lively Momoa to save the day, he brings his larger-than-life presence to Lobo, but the demon-like figure isn’t very interesting. A mix between Aquaman and his Khal Drogo from “Game of Thrones,” the longtime DC Comics character isn’t anything you wouldn’t expect here.

If there’s another bright spot in the cast, it’s Schoenaerts (“Rust and Bone,” “The Old Guard”), who brings a touch of nuance to the villainous Krem. You may have expected a bigger name to play the big bad in this second DC Universe big-screen effort, but some of the acting choices the Belgian makes keep things vaguely engaging when he’s within the frame.

Sadly, vaguely engaging is the best “Supergirl” can manage.

We’ll see if Gunn can turn things around, starting with the HBO series “Lanterns” in August and the horror-tinged film “Clayface” in October, before he returns to direct Corenswet, Alcock and the rest of the “Superman” gang in “Man of Tomorrow,” arriving a little more than a year from now.

We’re hoping for super results, but, at this point, it’s tough to say we’re expecting them.

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‘SUPERGIRL’

2 stars (out of 4)

MPA rating: PG-13 (for sequences of strong violence, action, language, and smoking)

Running time: 1:47

How to watch: In theaters June 26

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