Masters of the Universe Review: A Fun Return to Eternia That Falls Short of Greatness

SALT LAKE CITY, UT (See It or Skip It) – Does a 42-year-old property still have the power to bring audiences to the big screen?

That’s the biggest challenge facing Masters of the Universe director Travis Knight (Bumblebee, Kubo and the Two Strings). The story follows Adam, played by Nicholas Galitzine, an HR employee who specializes in conflict resolution and is desperate to recover a sword he lost while escaping Castle Grayskull to Earth as a child. The castle is now under the control of Skeletor (Jared Leto) and his right-hand witch, Evil-Lyn (Alison Brie), who are also searching for the lost weapon that grants untold power to whoever wields it.

For every impressive action sequence, there’s a nagging feeling that Masters of the Universe could have been something greater. Travis Knight brings cheeky heart to Eternia, but not enough to fully overcome the film’s limitations.

The story feels very similar to both Thor and Thor: Ragnarok. The sword essentially serves as Mjolnir; our hero is a fish out of water far from home, and losing his weapon becomes the key obstacle preventing his return. Nicholas Galitzine is a surprisingly effective He-Man. I enjoyed his backstory, and his performance works well within the film’s heightened tone.

Jared Leto, meanwhile, was not who I expected to steal every scene he appeared in. Skeletor is delightfully ridiculous, throwing tantrums, delivering lengthy monologues, and subjecting his enemies to bizarre mind-altering experiences. Those sequences ended up being some of my favorite moments in the entire film.

Where the movie loses me is in the relationships between its central characters. Idris Elba does what he can, but either the character isn’t strong enough on the page, or there simply isn’t enough material for him to work with. Adam’s parents receive very little screen time, leaving little opportunity for emotional connection. The numerous supporting characters largely exist for action sequences, serving more as nods to longtime fans than fully developed personalities.

For the most part, the visuals are strong, aside from a handful of environments that look noticeably computer-generated. Daniel Pemberton’s score is rich and energetic from start to finish. I especially enjoyed the heavy metal influences and the way the music pays homage to the original property while still establishing its own identity.

But if this is meant to introduce Masters of the Universe to a new generation, can audiences see it as something more than an imitation of stories they already love? The film tries to welcome everyone into the fold, but in doing so, it may end up too safe to inspire a passionate new fandom.