Masters of the Universe review – Eternal longing for more

After sitting on the sidelines of popular culture for literal decades, Masters of the Universe is now in cinemas and cashing its cheque for 80s franchise nostalgia. Granted, that cheque is for a smaller amount than other toyline-born franchises from that era, with the Transformers in particular still making a deposit every few years, but it nonetheless wields the potential to deliver a fantasy action experience unapologetically of its time. It succeeds, right up until its experience is simply not enough.

Set on the distant planet of Eternia, the film follows Prince Adam (played by Nicholas Galitzine), a descendant of a line of heroes forced into exile on Earth following the invasion of his home by the evil Skeletor (Jared Leto). Having been brought back to Eternia by his childhood friend Teela (Camila Mendes), Adam must work hard to rally the planet’s warriors, including his former mentor Man-at-Arms (Idris Elba), to take the fight to Skeletor and his henchwoman (Alison Brie), while fulfilling his lifelong destiny and learning what it takes to be a hero. A hero who will ultimately come to be known throughout the universe as He-Man.

Masters of the Universe took years to reach the big screen (for a second time, with the first adaptation released all the way back in 1987, starring Dolph Lundgren). The reboot was thrown around Hollywood, in and out of the hands of multiple studios and filmmakers, for decades. That extended development period has not worked in the film’s favour. It results in an adaptation having to work harder to distinguish itself in a very crowded field of films featuring quirky character ensembles.

Fortunately, those quirks are on full display, and MOTU finds solid ground by falling back on spectacle. Though making heavy use of special effects throughout, the film features stunning visuals from beginning to end, embodying the heavy-metal fantasy aesthetic as established by Marvel Comics artist Earl Norem and the original He-Man and the Masters of the Universe cartoon. From Eternia’s vibrant vistas to its kaleidoscopic characters, every dial is turned up to eleven and the film seeks no forgiveness in being a true product of the 80s. Even Queen guitarist Brian May is at hand, shredding his signature instrument and helping Daniel Pemberton’s musical score to flood the senses even further.

MOTU found its champion in director Travis Knight, who has previously upheld the honour of another toy franchise thanks to his Bumblebee movie, and whose experience in stop-motion (as the head of LAIKA) helps yield some truly excellent fighting and action sequences. Those sequences are the vehicle of introduction for the majority of our group of heroes, which will certainly please longstanding fans when they get to see the likes of Man-at-Arms, Fisto and Ram-Man punch up the likes of Evil-Lyn, Spikor and Trap Jaw. Without a doubt, the fan service here makes up for the more than 30-year break between cinematic outings.

Unfortunately, where MOTU finishes fulfilling fan expectations, and begins delivering a considered, cohesive narrative, is where it starts to lose balance. For all the work of the film’s writing team and the efforts of the well-assembled cast, the overall plot suffers from a lot of emotional tell, no show (ironic indeed). It’s especially bad as the problem starts at the top of the cast list. Prince Adam’s relationships with his family, and Teela, are very misshapen, with the payoffs not fitting what was planted. Meanwhile, Adam’s inner growth as a mighty warrior is stunted by uncertain motivations and world views.

Man-at-Arms, with Idris Elba delivering an impressive performance, carries more of the film’s emotional weight throughout, leaving audiences to wonder who they are meant to be focusing on, and latching their affections onto. And Teela, while confident and competent in her effort to help Adam get the gang back together, also doesn’t contribute much to the feels.

More emotion is delivered by Skeletor. Luckily, Jared Leto understands the brief, and the result is a wisecracking, self-conscious antagonist worthy of the throne he’s attempting to usurp. Skeletor is also on hand to provide the only humour that ends up working in the film. Unluckily, at his side he has an unfortunately miscast Alison Brie, whose Evil-Lyn is unable to command the respect that would sit in successful contrast to Skeletor. That said, the rest of the cast is well put together, and Galitzine also deserves praise for at least attempting to reconcile He-Man’s stature with a healthy dose of fragility.

The lack of cohesive emotional drive is a real blemish on the film, as giant, swooping gestures and loud declarations of how our players feel would not have felt out of place, given the film’s visual style. Masters of the Universe is big and brash and beautiful, and fully committing to that approach and not resorting to (dare I describe them as Marvel-esque) quips and off-hand character beats would have led to the film’s sum being greater than its parts.

As it is, Masters of the Universe has a lot of elements that end up working well, but spectacle can only compensate for so many shortfalls in narrative and emotional resonance. While it is sure to please fans of the franchise, the film struggles to find a place in your heart.

Masters of the Universe is in cinemas, including IMAX, from 5 June 2026.