Masters Of The Universe

Few toy-based franchises offer the unique blend of nostalgia, absurdity, and genuine affection that Masters of the Universe does. For decades, Hollywood has struggled to find the right formula to bring the world of Eternia back to the big screen, often treating its source material with either embarrassment or excessive seriousness. Under the direction of Travis Knight, however, this new adaptation finally uncovers the secret that so many previous attempts had overlooked: He-Man was always meant to be fun. Rather than apologizing for the franchise’s colorful excesses, its oversized muscles, improbable character names, and gloriously ridiculous mythology, this film embraces them with infectious enthusiasm. The result is a blockbuster that serves as both a love letter to childhood imagination and a surprisingly intelligent commentary on why these larger-than-life heroes still resonate more than forty years after their creation.

The story follows Prince Adam, played to perfection by Nicholas Galitzine, who delivers what may well be the most significant performance of his career to date. Exiled from Eternia as a child following the rise of the villain Skeletor, Adam spends fifteen years stuck on Earth, holding a mundane job in human resources in Oklahoma City while obsessively searching for the lost Sword of Power that could take him home. It’s a premise that could easily have come across as clumsy or overly ironic, but the script finds genuine charm in Adam’s existence, like a fish out of water. Watching this imposing-looking future hero struggle with blind dates, office politics, and coworkers who think he’s delusional yields some of the film’s funniest moments. More importantly, it allows Nicholas Galitzine to make Adam a truly endearing protagonist long before he wields the sword and becomes He-Man. Unlike many heroes in modern franchises who arrive fully formed as flawless icons, Adam seems vulnerable, clumsy, and surprisingly relatable.

What makes the film work so well is its understanding that the mythology of Eternia has always existed somewhere between a fantasy epic and the imagination of a schoolyard. Travis Knight approaches the subject with the energy of a child who empties an entire toy chest onto the floor and invents adventures on the spot. Characters like Fisto, Ram Man, Trap Jaw, and Beast Man aren’t redesigned as realistic modern warriors; they remain wonderfully exaggerated creations that seem straight out of a child’s imagination. The screenplay even finds a clever way to explain some of their notoriously absurd names, turning what could have been a weakness into one of the film’s recurring jokes. Throughout the film, there’s a refreshing willingness to acknowledge just how ridiculous this universe can be without ever mocking it. The balance is delicate, but remarkably successful. The film laughs along with the franchise rather than at it, which is why both longtime fans and newcomers are likely to find themselves smiling throughout the film.

Visually, the film fully embraces the strange fusion of science fiction and fantasy that made the original work unique. Eternia feels like a place where medieval castles coexist with laser cannons, spaceships, magical relics, and giant talking creatures. Some viewers may find the heavy use of CGI excessive, but there’s no denying the ambition it conveys. The art direction captures the colorful whimsy of the original toy line while avoiding the sterile look that often plagues contemporary fantasy blockbusters. One particularly memorable image shows the heroes charging into battle atop the legendary Battle Cat, a scene that perfectly sums up the film’s philosophy: if the audience is willing to accept a giant, talking green tiger, they’re willing to accept everything Eternia has to offer. Rather than grounding the story in realism, Travis Knight opts for spectacle, imagination, and unapologetic fantasy.

The supporting cast contributes greatly to the film’s success. Idris Elba brings surprising emotional depth to Duncan, also known as Man-At-Arms, portraying a warrior grappling with regret and failure. Camila Mendes imbues Teela with enough determination and charisma to ensure she isn’t reduced to a mere foil, while Alison Brie clearly relishes every second in the role of Evil-Lyn. The biggest surprise, however, comes from Jared Leto as Skeletor. Few casting announcements have sparked as much skepticism, and yet Jared Leto delivers one of the most entertaining villain performances of recent years. His Skeletor is theatrical, vain, melodramatic, and often hilarious. Rather than attempting to transform the character into a dark and psychologically complex antagonist, the film wisely embraces his cartoonish nature. Every exaggerated speech, every theatrical laugh, and every outburst of frustration seems perfectly suited to the tone. It’s the kind of performance that understands exactly what kind of movie it belongs in.

One of the film’s most interesting achievements lies in its treatment of masculinity. He-Man has long been one of pop culture’s most exaggerated symbols of physical strength, but the script repeatedly suggests that true power isn’t measured solely by muscles or combat skills. Adam spends much of the film trying to resolve problems through communication, empathy, and understanding—habits he developed during his mundane career in human resources on Earth. This recurring contrast between the gigantic warrior everyone expects him to become and the thoughtful man he already is lends the story a surprisingly modern dimension. Without veering into moralizing, the film quietly asserts that strength comes in many forms, which allows Adam’s final transformation into He-Man to feel emotionally earned rather than merely visually impressive.

Not everything works perfectly. The film’s biggest weakness is its length. At nearly two and a half hours, the story sometimes feels stretched beyond what its relatively simple premise can comfortably support. Some jokes are repeated too often, certain subplots clearly exist to set up future sequels, and the shifts in tone between parody and sincere heroism aren’t always perfectly executed. There are moments when the script feels like the work of too many writers trying to juggle conflicting ideas. Yet even when the narrative loses momentum, the film’s enthusiasm endures. Between the energetic action scenes, the creation of a colorful universe, and the cast’s unwavering commitment, there’s almost always something entertaining happening on screen.

Masters of the Universe succeeds because it understands a truth that many modern franchise reboots overlook: audiences don’t necessarily need a franchise to be reinvented; sometimes, they simply need it to be loved. Travis Knight has directed a film that respects the franchise’s history while welcoming a new generation into the world of Eternia. It’s funny, deliberately ridiculous, visually extravagant, and surprisingly sincere. No, it’s not a masterpiece, and it doesn’t aspire to be one. What it offers instead is perhaps something even more valuable for a summer blockbuster: pure cinematic pleasure. The moment Nicholas Galitzine finally raises the Sword of Power and utters the immortal words fans have been waiting for decades to hear, it becomes impossible not to feel a little like a child again. And in a cinematic landscape increasingly dominated by cynicism, that feeling is a force in its own right.

Masters of the Universe
Directed by Travis Knight
Written by Chris Butler, Aaron Nee, Adam Nee, David Callaham
Story by Aaron Nee, Adam Nee, Alex Litvak, Michael Finch
Based on Masters of the Universe by Mattel
Produced by Todd Black, Jason Blumenthal, Robbie Brenner, DeVon Franklin
Starring Nicholas Galitzine, Camila Mendes, Alison Brie, James Purefoy, Morena Baccarin, Jóhannes Haukur Jóhannesson, Kristen Wiig, Jared Leto, Idris Elba
Cinematography: Fabian Wagner
Edited by Paul Rubell
Music by Daniel Pemberton
Production companies: Amazon MGM Studios, Mattel Studios, Escape Artists
Distributed by Amazon MGM Studios (United States)
Release dates: May 18, 2026 (TCL Chinese Theatre), June 3, 2026 (Belgium), June 5, 2026 (United States)
Running time: 141 minutes

Viewed on June 6, 2026, in Mons (Belgium), at the Imagix cinema

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