Compare Supergirl vs Peaky Blinders: The Immortal Man

Direction receives scattered praise for competence or prior promise, but several viewers blame the film's uneven tone and blockbuster execution. It is not one of the better-supported strengths.

Tom Harper is frequently praised for confident staging, visual control, suspense, and explosive set pieces. A few reviews fault specific tonal or narrative choices even while admiring the filmmaking.

Romance is barely part of the movie, but one reviewer liked the odd-couple energy between Alcock and Corenswet. There is not enough romance-focused material for a broad conclusion beyond that.

The romantic material fares poorly, with Tommy’s sex scene described as cheesy rather than convincing.

Music and needle drops are among the most polarized traits. A few reviewers loved or liked the soundtrack, but many call the needle drops baffling, awful, badly chosen, or momentum-killing.

Modern-rock needle drops remain a signature strength and are widely praised for driving emotion and atmosphere. A few reviewers find the choices dated, overly loud, or less appealing outside the iconic theme reprise.

Cinematography and staging divide sharply. Positive takes praise the scale, emotional closeups, and composed flashbacks; negative ones complain about muddy visuals, flat green-screen work, or poorly shot action.

The cinematography is the clearest consensus strength, praised for striking light, shadow, mud, rubble, wintry landscapes, and a genuinely cinematic sense of scale.

Cultural representation is tangled with reactions to a female-led superhero film, the male gaze, and pre-release attacks on Alcock. Some appreciated the less sexualized presentation, while others framed the gender politics as clumsy or divisive.

Tommy’s spiritual and gypsy side is praised as one of the most worthwhile expansions of his character in the film.

Audience appeal appears weak overall, with poor box-office discussion and many viewers calling it average or worse. A few audience-side comments liked it or found it fine, but broad enthusiasm looks limited.

Longtime Peaky Blinders fans are the clearest audience, especially for the callbacks and emotional closure. Reviewers disagree on newcomers: some found the film easy to follow, while others strongly recommend watching the series first.

Visual effects split opinion: some praise polished flight and combat effects, while others call the CGI ugly or phony, especially around Krypto and green-screen-heavy moments. Practical effects often fare better than digital work.

An apparent CGI hat is called distractingly bad, standing out as a conspicuous weakness in the effects work.

Visual style ranges from praised grungy space-western atmosphere to complaints about gray smoke, muddy colors, and derivative Mad Max or Guardians influences. The look has personality for some viewers and ugliness for others.

The visual presentation is consistently celebrated: smoky interiors, chiaroscuro lighting, slow-motion swagger, period grime, and large-scale wartime imagery make the movie look distinctly cinematic.

Violence is prominent and often described as dark, destructive, or intense, though some note it is mostly bloodless comic-book action. The revenge plot and harm to young characters make the violence feel heavier than a simple cape romp.

The film’s cold-blooded, stylized violence generally fits the franchise’s appeal and is often balanced with swagger or dark humor, though it can edge into grim excess for some viewers.

Humor gets spotty marks. Lobo, world-building gags, and a few line deliveries land for some, but several reviewers call the jokes flat or say the film is too dour to be much fun.

Dark comedy—especially the Garrison grenade sequence and father-son mud fight—provides welcome relief from the gloom. A few detractors find some of the comic touches cheesy rather than sharp.

Editing is criticized in the harsher video reviews, especially around action and final sequences. There is not much positive counterweight.

Hazy reverie-style editorial cuts are criticized as visually cheesy and as interruptions to the otherwise painterly presentation.

Action is split but leans negative: some call it exciting, solid, or epic, while many others find it rote, muddy, poorly staged, or repetitive. The best-liked action moments tend to be isolated scenes rather than the full action design.

The action lands best once Tommy returns to Birmingham, with the pub confrontation, shootouts, explosions, and finale frequently singled out. Critics who wanted more momentum found the action too delayed or the climax predictable.

The story draws the widest criticism: several viewers call it generic, unfocused, or overly reliant on revenge-and-fetch-quest beats. A smaller group still found the core premise serviceable when it stayed close to Kara, Krypto, or the comic's basic throughline.

The core legacy-and-war story is compelling and emotionally satisfying for many reviewers, but others call the movie unnecessary, thin, half-baked, or unable to justify rewriting the series’ prior ending.

General acting is usually described as solid to good even by mixed reviewers. The cast often gets credit for lifting material that many felt was weaker than the performers deserved.

The cast is one of the film’s safest bets: even many negative reviews praise the performances, with the central actors repeatedly credited for elevating uneven material.

The screenplay is a common pain point, with complaints about formula, thin arcs, and familiar setups. A few viewers found enough functional structure for a light comic-book adventure, but the script rarely escapes criticism.

The script earns credit for themes, twists, and some strong dialogue, but criticism is substantial: exposition, clichés, rushed character work, and compressed plotting repeatedly surface.

Fans of the comic are divided: some say the movie follows the broad throughline or works as a companion piece, while others strongly prefer Woman of Tomorrow and dislike the adaptation choices. Source-material satisfaction is one of the clearest mixed areas.

The film restores the show’s swagger, music, visual language, and callbacks, satisfying many longtime fans. Others see missing characters and major legacy decisions as betrayals of the series’ established arcs.

Genre satisfaction depends heavily on expectations. Some saw a worthwhile, darker DC companion piece, while others thought it was an underwhelming or tired superhero entry that did little to fight genre fatigue.

As a gangster-period-drama send-off, the movie retains much of the show’s identity and pulp energy. Several critics still feel it plays more like an extended television episode than a fully realized feature.

Emotional impact is highly uneven: some found Kara's family flashbacks, Krypto, or the revenge warning genuinely touching, while many others say the movie fails to make its big feelings land. The violence and action often crowd out the emotional beats.

For supporters, the film delivers grief, regret, family conflict, and a powerful farewell with real force. Detractors found key deaths rushed, contrived, or too hollow to land.

The drama works best when the movie leans into Kara's grief, her parents, or moral choices. Critics who disliked it found the darker tone empty, dour, or unable to build enough emotional weight.

The film’s grief-heavy, introspective drama gives Tommy’s final chapter weight for many viewers, though its persistent misery and brooding occasionally overwhelm the entertainment.

Critic appeal is mixed, ranging from early positive blurbs and defenders to middling aggregate discussion and sharply negative reviews. The critical picture is far from settled consensus praise.

Aggregated critical reaction is broadly favorable but not uniform, with enthusiasm for craft and performances tempered by repeated complaints about pacing, script compression, and sequel necessity.

Dialogue is frequently called stale, unnatural, or too familiar. Alcock earns credit for selling some lines, but the writing itself is a common complaint.

Dialogue receives mixed marks: some reviewers praise sharp lines and economical exposition, while others call it simplistic, clunky, corny, or overly explanatory.

Supporting performances are mixed: Momoa's Lobo and some cameo/supporting work get strong praise, while Krem and several side characters are repeatedly called bland, forgettable, or underused. Ruthye's role also divides viewers.

The supporting ensemble is generally considered strong, particularly Keoghan, Roth, Rundle, Graham, and Ferguson. The bigger complaint is often that the movie underuses them or gives their characters too little depth.

The movie's moral message is clear enough for many: be good, avoid revenge, and help others. The pushback is that the film sometimes muddies that message or fails to make it emotionally convincing.

The strongest readings focus on legacy, self-definition, family, and the cost of valuing power over people. One severe critic felt the film squandered the larger sense of purpose built around Tommy.

Kara's characterization is one of the biggest divides: some appreciate her trauma, cynicism, and path toward goodness, while many say the movie gives Ruthye or the plot more development than Kara herself. Villains and side characters are often described as thin.

Tommy’s reckoning with grief and Duke’s struggle with his father’s legacy work for many reviewers, but the compressed format leaves several supporting characters—and, for some, Duke himself—feeling thin or underdeveloped.

Sound design has little coverage, but one reviewer wanted the fights to hit harder sonically while another used soundtrack praise under a broader sound label. The available comments point to mixed or thinly supported audio impact.

The soundscape can feel forceful and theatrical, with one review highlighting Dolby Atmos impact and another calling the sound design incredible. A major dissent criticizes an aggressive music-to-dialogue mix.

Overall entertainment value is deeply mixed and often negative: some call it fun, fine, or enjoyable enough, while many others call it boring, average, bad, or not exciting. The movie seems easiest to enjoy as a light DC detour rather than a must-see superhero event.

Reactions range from gripping, highly enjoyable fan service to dull, hollow, or unnecessary viewing. A common middle ground is that the movie becomes much more entertaining after its slow first half.

Milly Alcock is the most consistent bright spot, with many praising her as compelling, vulnerable, funny, or well-cast. Even negative reviewers often separate her work from their complaints about the script or direction.

Cillian Murphy’s return as Tommy is overwhelmingly praised for its weary stillness, menace, grief, and emotional control; even harsh critics routinely identify him as a major strength.

Runtime has little direct coverage, but the clearest opinion is negative: one viewer says the 1-hour-45-minute movie feels far longer. Most pacing complaints are captured separately under pacing.

At roughly feature length, the movie often feels too compressed for the number of character turns and plot developments it attempts. Several reviewers explicitly wish the story had been a season or miniseries instead.

Originality is frequently criticized, with reviewers pointing to familiar tropes, Guardians, Mad Max, True Grit, and standard superhero formulas. Positive responses tend to praise small tonal differences rather than a fully fresh story.

Many reviewers see the movie as a familiar one-last-job epilogue or a reworking of old Peaky Blinders beats. A smaller group praises its bolder choices and fresh generational angle.

Clarity lands better than depth for some viewers, with a few praising the straightforward setup. Others still felt the structure became muddled or uneven once side quests and revenge material took over.

Some newcomers report following the story surprisingly easily without heavy recaps, but other reviews point to shaky logic or exposition that does too much work.

World-building gets more praise than many story elements, with reviewers enjoying odd planets, cosmic settings, and DCU continuity. Some still felt the settings were derivative of familiar space-western influences.

For supporters, Birmingham and the Peaky underworld feel convincingly restored and expanded into wartime. Critics miss the old ensemble and argue the newer, thinner supporting world makes the film feel smaller than the series.

Value for money has limited direct coverage. One viewer found it worth the trip to the cinema, while another landed around a solid B-minus rather than a must-buy recommendation.

The big-screen outing is framed as earned and worth paying for, with the theatrical presentation treated as part of the appeal.

Theme depth centers on whether Kara can be good without being nice and whether revenge heals pain. Some found those questions worthwhile, while harsher reviewers thought the movie undercut or muddled its own moral point.

Legacy, grief, trauma, memory, family inheritance, and self-definition give the film substantial thematic weight. Critics who resist the movie argue these ideas are compressed, overplayed, or left insufficiently explored.

CGI is one of the more repeated craft complaints, especially for Krypto, green-screen shots, and artificial-looking sequences. A few viewers did not notice major CGI problems, but the negative mentions are louder.

An apparent CGI hat is called conspicuously poor, creating a distracting visual blemish in the effects work.

The ending gets limited but mildly positive attention from those who felt the franchise still had lift by the close. Others criticize late moral turns elsewhere, so the finish is not a universal win.

The ending is intensely divisive: many call it fitting, powerful, or even perfect closure for Tommy, while others believe it needlessly overturns the stronger symbolism of Season 6.

Costume design is mostly positive where discussed, especially Kara's suit and the broader costuming around alien characters. A small minority disliked the fit or visual choices.

The return of Tommy’s tailored Peaky Blinders look remains a major visual pleasure, with covetable coats and sharp suiting earning praise. One review found Duke’s modern-looking styling immersion-breaking.

Production design is a relative strength when the film shows off strange worlds, alien spaces, and large-scale spectacle. Even mixed reviews sometimes separate those tangible environments from their story complaints.

Blitz-era Birmingham, grime, rubble, docks, pubs, and warehouses are generally rendered with impressive tactile detail and scale. One negative review thought parts of the production looked like a soundstage.

Plot originality is weak where discussed, with familiar setups and story arcs called out as material viewers had seen many times before. The movie is more often described as derivative than fresh.

The central comeback structure, Nazi scheme, and legacy conflict are often described as familiar or clichéd, with several critics saying the film rarely finds a genuinely new plot shape.

Character chemistry is strongest when Kara is paired with Superman, Ruthye, or Krypto, though not everyone felt those bonds were fully developed. The cousin dynamic with Superman is especially praised in positive and mixed takes.

Murphy and Keoghan’s father-son dynamic is often described as raw, magnetic, and powerful. A smaller group felt the pair never generated the expected sparks or emotional bond.

Pacing is a recurring weak spot, especially where reviewers describe dragging stretches, repeated fights, or emotional scenes squeezed between similar battles. A few thought the shorter, condensed runtime kept the movie moving, but not always in a satisfying way.

Pacing is the most consistent weakness: the first half is repeatedly described as slow or drawn out, while the later material can feel rushed as too much story is compressed into feature length.

Sexual-content concerns center less on explicit scenes and more on the trafficking threat and sexual violence implications. Several reviewers found that material tonally jarring, dark, or inappropriate for a supposedly fun superhero movie.

The sexual material draws a negative reaction because Tommy’s sex scene is viewed as cheesy and out of place.

Age suitability skews older than kid-friendly superhero fare. The PG-13 frame is repeatedly tied to violence, language, alcohol, and dark themes rather than all-ages adventure.

Family friendliness is limited by darker violence, drinking, language, and trafficking/revenge material. Reviews that discuss family suitability generally warn that younger superhero fans may find the content too intense.

Reviewers appreciate the use of World War II events and the counterfeit-currency plot as historical grounding. Others question specific period details, plausibility, or the sentimental elevation of Tommy within wartime history.

Language is flagged as moderate but noticeable, especially for family viewers. It is not the dominant complaint, but it contributes to the movie's older-skewing PG-13 feel.

Makeup earns strong praise in the few places it is singled out, especially for alien creatures and practical texture. It is one of the clearest craft-level positives.

Practical effects are warmly received, with several reviewers calling the alien makeup, creatures, and tactile effects top shelf or simply good. This is a consistent craft strength when the movie avoids obvious CGI.

Period immersion is weakened for some by modern-looking styling, oversized stakes, and questionable wartime plausibility. The film’s stylized mythmaking of Tommy also draws skepticism.

Rewatch interest is sharply polarized: one enthusiastic reviewer immediately wanted another viewing, while several detractors say they would not revisit it and even feel it harms the series’ rewatchability.

The eerie, supernatural-leaning material is praised as some of the eeriest material the franchise has attempted.

The score is repeatedly praised for building dread, atmosphere, and intensity, especially as Tommy’s return pushes the film toward its climax.

Several set pieces generate strong tension and claustrophobia, especially the pub and tunnel material. Negative reviews say predictability weakens the climax and removes the sharper twists associated with the series.

The sombre, gothic, highly stylized mood works for some as a fitting final chapter, but others find the film tonally off, overly miserable, campy, or caught awkwardly between old and new Peaky Blinders.