There is something refreshingly uncomplicated about Master of the Universe. While it feels like every summer blockbuster is desperate to be dark, gritty or more self-important than the last, this film isn’t any of that. With a 30-plus-year lore and loyal fanbase, it knows what it is: a big, goofy fantasy adventure based on a toy named He-Man fighting a skull-faced villain called Skeletor. It’s absurd and absolutely embraces the cringe- something I found very enjoyable as someone new to the franchise.
The movie is undeniably corny. There are moments where the dialogue is so bad that I wondered if it was written by A.I. The story follows Marvel-esque heroic beats and doesn’t even try to subvert Joseph Campbell’s The Hero’s Journey. It is a classic, paint-by-numbers action flick that I expect from any toy company trying to milk their IP. However, I can admit that it is also part of its charm. Instead of trying to reinvent the franchise from a Saturday morning cartoon and turn it into something die-hard fans might feel betrayed by, director Travis Knight takes 0 risks. He leans into the colourful fantasy elements that made the property popular in the first place, and while it was a fun watch, with exceptional costume design. The result is a mindless watch that is great in the moment and entirely forgettable post-screening.
Nicholas Galitzine does a solid job as Prince Adam and He-Man, bringing enough sincerity and gentleness to the role to make the character likable. The film’s central themes of self-belief and responsibility are hardly groundbreaking, especially when overshadowed by its military-propaganda undertones. “Yes, young boys of the world, feelings are important, but do not let them overshadow killing the enemy of our imperialist agenda.” And while the plot is predictable, the film moves along at a decent pace and delivers the kind of escapist entertainment we all crave in the summer.
The standout performance and character arc for me, however, was Idris Elba as Duncan, better known as Man-at-Arms. Hollywood loves to give Elba’s generational talent a backseat to the rebranded white leading man, and so I had very low expectations, but this film surprised me. Elba’s arc was not used to give He-Man his final push into hero status; instead, Duncan felt like a person who had actually lived through the consequences of war and loss. Without turning the movie into a heavy drama, Duncan moves through alcoholism, failure, and estrangement with his daughter with relatable intimacy. There is no room for mourning in his world, and so he masks his pain behind the bottle and a yearning for nostalgia, the good ol’ days when he was a real man. His inability to confront himself in the midst of war felt like a real human experience.
There is a recurring emphasis on the importance of confronting emotional wounds rather than burying them, and I thought that was the film’s strongest element. A message that can’t be ignored from its broad audience and generational fans, but most importantly, its younger viewers. That said, the military propaganda was louder as the story frequently celebrates warriors, soldiers and military leadership as noble ideals. Heroism is framed through combat and battlefield sacrifice; the most disappointing aspect for me was how He-Man ultimately surrenders to this messaging when he finally embraces his responsibility. Because in Eternia, when everyone is trying to destroy you (the why is never fully explained), a true leader must put the sentiments away. This is war after all.
Ultimately, Master of the Universe is not a masterpiece. It is too long, occasionally messy, and unlikely to convert new viewers into fans of the toy or animated series. Yet, I had a good time with it. The movie understands that fun matters, and it embraces its own weirdness. The end credits tease She-Rah, so here’s to hoping her film corrects what didn’t work for her brothers.
Masters of the Universe is in theatres on Friday, June 5th, 2026.
