CineCrossroads: “Supergirl,” “Caesar and Cleopatra,” and “Over the Hedge”

Movie of the Week — Supergirl (2026)

DC’s new chapter brings Kara Zor-El, better known as Supergirl, back to the big screen in her first live-action solo film in more than four decades. Milly Alcock takes on the title role, with Craig Gillespie directing from a screenplay by Ana Nogueira.

The film follows Kara on an intergalactic journey that is far darker than Superman’s story. Unlike Clark Kent, who was raised on Earth, Kara remembers Krypton, its destruction and the trauma of losing her home. Her path crosses with Ruthye, a young girl seeking revenge after the murder of her family.

The film’s main distinction is its attempt to show Supergirl not as a lighter version of Superman, but as a wounded and more unstable heroine shaped by loss. The approach, however, received mixed reviews. While Milly Alcock’s performance drew praise, several critics argued that the film did not fully realize the emotional potential of Kara Zor-El’s story, pointing to uneven storytelling, a weak script and a lack of depth in the character’s arc.

Classic Pick — Caesar and Cleopatra (1945)

Gabriel Pascal’s Caesar and Cleopatra brings George Bernard Shaw’s play to the screen, with Claude Rains as Julius Caesar and Vivien Leigh as Cleopatra. Set during the Roman Civil War, the film follows the young and inexperienced Egyptian queen as Caesar teaches her how to survive in a dangerous political world.

Cleopatra is not yet the legendary ruler she would later become. She is impulsive, ambitious and still discovering what leadership requires. Caesar, meanwhile, is portrayed less as a ruthless conqueror and more as a calm strategist and mentor who understands people as well as politics.

The film is notable for its scale. Shot in vivid Technicolor during the final years of the Second World War, Caesar and Cleopatra became one of the most ambitious British productions of its time. Filming began at Denham Studios in 1944, but a planned four-month shoot stretched to more than a year, with rising costs and lavish sets turning the project into a famously difficult production. Its visual ambition was enormous, even including imported Egyptian sand, yet the film struggled to win over wider audiences after release.

Family Choice — Over the Hedge (2006)

DreamWorks’ Over the Hedge begins with a simple problem: animals wake up from hibernation and discover that humans have built a suburb around their forest. Their familiar world is suddenly divided by a hedge, behind which lies an endless supply of snacks, garbage cans and strange human habits.

At the center of the story is RJ, a clever raccoon who persuades a group of forest animals to help him collect food after he gets into debt with a bear.

The film succeeds by combining humor with sharp social commentary. It pokes fun at consumerism, oversized portions and the comforts of suburban life. At its heart, Over the Hedge reminds viewers that home is not simply a place filled with food, but the family that stands by you when things go wrong.

You can read last week’s edition of CineCrossroads here.