Whether the summer blockbuster season truly delivers comes down to two things: anticipation and the hope these films live up to expectations. That also includes the animated Into the Spider-Verse films, where the finale has been delayed. The third film is scheduled to be released on June 18, 2027. When the season is often dominated by superhero films, ’tis easier to swing with it rather than not.
On the DC front, Supergirl looks set to shape what comes next in this rebuilt universe, offering a clearer sense of direction than we’ve seen in some time. There’s also a growing buzz around Jason Momoa finally stepping into the role he seems born to play: Lobo. The conversation is there; the prospect is building, and as the year moves into its second half, the genre slate feels increasingly charged.
Supergirl
This new take on Kara Zor-El immediately distinguishes itself by rejecting idealism. Jaded, reluctant, and uninterested in hero worship, this Supergirl doesn’t want the mantle she’s expected to wear. That resistance makes for a stronger introduction, allowing the character to be defined on her own terms rather than by legacy expectations. It’s a refreshing reset that suggests a more character-driven direction for this corner of the universe.
The Odyssey
Christopher Nolan’s adaptation of Homer’s epic has my attention more than most large-scale literary translations. The appeal lies in its long-form ambition, an acknowledgment that Odysseus’ journey home isn’t meant to be compressed into a tidy structure. With gods working against him, monsters to outwit, and time itself as an adversary, the hope is for something faithful rather than flashy. If it avoids the pitfalls of past mythological adaptations, this could be a defining epic.
Spider-Man: Brand New Day
Tom Holland returns as Peter Parker in a soft-reboot approach that refocuses on his college years. The promise here isn’t escalation, but recalibration, stepping away from multiverse fatigue to rebuild the character from the ground up. By allowing Peter to exist without the weight of constant spectacle, this entry has the chance to re-establish why Spider-Man works at a human level.
Werwulf
Universal Picture’s decision to hand a werewolf film to Robert Eggers feels like a corrective move. Past attempts have struggled to define what a modern werewolf story should be, and a period setting plays directly to Eggers’ strengths. Lily-Rose Depp’s involvement raises intriguing questions about continuity or thematic echo, particularly given her role in Nosferatu. Whether or not this signals a shared universe, there’s hope that this finally nails the emotional and mythic core of the creature.
Avengers: Doomsday
With the Russo Brothers returning, the goal appears clear: stabilize a cinematic universe that lost momentum during and after the pandemic. Doomsday positions itself as a narrative bridge, teasing a large-scale conflict shaped by real-world production shifts. Whether this new take on Doctor Doom can justify renewed investment remains the central question. The stakes are high, not just for the characters, but for the future of the franchise itself.