Name: He-Man and the Masters of the Universe
Genre: Action, Fantasy, Sci-Fi, Adventure
Duration: 2 h 21 min
Rating: 7
Cast: Nicholas Galitzine, Camila Mendes, Jared Leto, Idris Elba, Morena Baccarin

Sangli Miraj Kupwad

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He-Man and the Masters of the Universe

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A young man on Earth discovers a fabulous secret legacy as the prince of an alien planet, and must recover a magic sword and return home to protect his kingdom.

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One of the greatest challenges facing any Masters of the Universe adaptation is balancing the inherent absurdity of its premise with genuine emotional investment. Travis Knight largely succeeds by refusing to treat the material as a joke. Instead of ironic detachment, the film approaches He-Man’s world with conviction, allowing audiences to immerse themselves in its mythology without constant winks at the camera. Nicholas Galitzine proves a surprisingly effective choice for Prince Adam. He brings enough vulnerability and uncertainty to the character to make the eventual transformation into He-Man feel earned rather than automatic. The performance never overcomplicates the role, but it gives Adam a relatable humanity that helps anchor the larger-than-life fantasy surrounding him. Camila Mendes brings confidence and determination to Teela, while Idris Elba lends considerable gravitas to Man-at-Arms. Alison Brie makes a strong impression despite limited opportunities to fully explore Evil-Lyn’s motivations. Jared Leto’s Skeletor is intentionally theatrical and larger than life. While some viewers may find the performance excessive, it fits comfortably within the heightened reality of Eternia and provides the film with a memorable antagonist.
Visually, the film is at its strongest when fully embracing the fantastical elements of the franchise. Eternia feels expansive and lived-in, filled with elaborate production design, striking costumes, and colourful environments that distinguish it from the increasingly generic fantasy landscapes common in modern blockbusters. Knight’s background in visual storytelling serves him well, creating several memorable action sequences that prioritise clarity and spectacle over chaotic editing. The screenplay is less successful. The narrative follows a familiar chosen-one framework, and several supporting characters receive less development than they deserve. The lengthy runtime occasionally reveals pacing issues, particularly in the middle act, where exposition and world-building slow the momentum. Some attempts to set up future instalments also feel more obligatory than organic.
Nevertheless, Masters of the Universe succeeds where many legacy reboots fail. It understands what made the original property resonate with generations of fans and translates that affection into a modern blockbuster without losing its identity. It may not redefine fantasy cinema, but it delivers exactly what a He-Man film should with heroic adventure, colourful villains, grand battles, and an unwavering belief in the power of mythic storytelling.

For a character whose most famous introduction involves raising a sword and loudly announcing his power, He-Man spends a surprising amount of time questioning it. That may be the smartest thing about Masters of the Universe.

After decades of living in pop culture as the poster boy for exaggerated masculinity, be it impossibly broad shoulders, impossibly large swords and an even more impossible physique, He-Man returns to the big screen in a film that is less interested in celebrating power than interrogating it.
Thankfully, it works more often than it doesn’t.

Directed with equal parts nostalgia and self-awareness by Travis Knight (Bumblebee), Masters of the Universe follows Prince Adam (Nicholas Galitzine) as he struggles to embrace his destiny as Eternia’s legendary protector while the ever-menacing Skeletor threatens to plunge the kingdom into chaos once again. On paper, the plot is familiar. Chosen one. Ancient prophecy. World-ending villain. Big sword. You know the drill.

Yet the film finds unexpected depth by focusing less on the battle for Eternia and more on the battle happening within Adam himself.At a time when superhero cinema often mistakes trauma for character development and aggression for strength, Masters of the Universe takes a surprisingly softer route. Adam’s journey is not about becoming stronger. It is about accepting uncertainty, vulnerability and responsibility. The film repeatedly asks a simple but compelling question: What if true power lies not in domination, but in restraint? It’s not exactly revolutionary, but it feels refreshingly sincere.
Nicholas Galitzine anchors the film with a performance that balances physicality and emotional openness. He looks every bit the fantasy hero audiences expect, but more importantly, he allows Adam’s insecurities to exist without embarrassment. There is a quiet vulnerability beneath the armour that makes the character feel more human than his larger-than-life mythology suggests.
Opposite him, Jared Leto appears to be having an excellent time as Skeletor. The actor wisely leans into the theatricality of the role without tipping completely into self-parody. Skeletor remains deliciously dramatic, delivering threats with the kind of operatic flair that only a fantasy villain named Skeletor can get away with. The performance occasionally flirts with camp but never fully loses its menace.

Camila Mendes also emerges as one of the film’s strongest assets. As Teela, she brings emotional intelligence and agency to a character who could easily have existed solely to support Adam’s journey. Instead, Mendes gives Teela enough independence and presence to feel like a hero in her own right.

What makes Masters of the Universe particularly interesting is how aware it is of He-Man’s cultural baggage. For decades, the character represented a very specific version of masculinity. The film acknowledges that legacy without mocking it. There are subtle moments throughout that challenge traditional ideas of heroism and gender expectations. The visual choices, including Adam frequently appearing in softer colours during key emotional scenes, feel deliberate rather than accidental. The message never becomes heavy-handed, but it remains clear: strength and sensitivity do not have to exist in opposition.
That said, the film occasionally struggles to balance its ambitions. The pacing becomes uneven whenever the story shifts between intimate character moments and broader franchise-building responsibilities. One particular joke involving masculinity feels noticeably dated and sits awkwardly within a story otherwise attempting to challenge those very assumptions. It is not enough to derail the film, but it does briefly expose the tension between old franchise instincts and newer ideas.
Still, Masters of the Universe deserves credit for trying something many modern superhero films seem reluctant to do: slow down.

Beneath the mythology, monsters and sword fights is a surprisingly thoughtful story about identity, responsibility and emotional courage. The film offers something increasingly rare: a hero whose greatest challenge is not defeating a villain, but understanding himself.

By the power of Grayskull, He-Man finally learns that vulnerability might be his greatest strength. The film is now in theatres.


 It doesn’t do to go around dressed in a loincloth, wielding a shiny sword and declaring oneself “He-Man” these days – at least not in a big-bucks Hollywood film that is hoping not to cause any affront, to he, she, they, them, or it.

So how do you tap into a character that was born as a Mattel toy and largely remembered only by an audience who first encountered him as an animated TV series in the 1980s, and is now into their middle age? Director Travis Knight and screenwriters Chris Butler and Adam and Aaron Nee (who have several award nominations between them) settle on a tone that is constantly mocking the whole concept while trying to kick off a successful franchise with it.
It is surprising how well they are able to do this when they do it well. It is as surprising how the film still manages to feel and look like a frenetic video game being played by a bunch of compulsive teenagers.

As He-Man aka Prince Adam of Eternia, Nicholas Galitzine must literally do the heavy lifting. The English actor is a good choice for, more than muscle, he wields his mega-wattage smile and blond, wholesome good looks, to give a He-Man with a difference, which is what this film is going for.

As his arch enemy, Jared Leto is excellent as the faceless Skeletor, given the juiciest lines which he delivers with a flourish that puts him in the category of villains who almost walk away with the film. From “pitiful petulant pissant (and several more ‘p’s)” to “muscle-bound milquetoast”, to “weak little palace boys”, Skeletor lays out his contempt for Adam thick.
Camila Mendes and Idris Elba are the daughter-father pair of Teela and Duncan, Adam’s loyal companions when he decides to take on Skeletor. The dark lord has for company Evil-Lyn (Alison Brie, living it up), his witch-at-hand who is just about surviving with the few tricks she knows.

When Adam is just 10, Skeletor attacks Eternia and holds Adam’s parents – the King and Queen – hostage. Adam escapes to Earth with the help of the Sorceress (Morena Baccarin). Fifteen years later, he is still dreaming of Eternia and to find the Sword of Power that will take him back there. When he does, with the help of Mendes’s Teela, the film kicks off.

It feels compelled after that to keep kicking as much as possible, with Adam, Teela and the lot vs Skeletor’s army of deplorables fighting in the sky, in flying objects one more inventive than the next, or on the ground, against imposing castles or rock faces for backdrop. At other times, they just fall and fall, onto flora in psychedelic colours.

In his Earth life, Adam worked in Human Resources, where he was paid to be as faceless as possible, behind a nameplate that bore two pronouns, and learnt to talk the language of “how not to hurt feelings even when firing someone”, and dialogue as the means of conflict resolution. Of course, this must clash with his new macho life in Eternia.

Masters of the Universe is smart about playing up the contrasts, particularly a sequence where Adam dreams of encountering Skeletor in different scenarios on Earth, including in pinstripes at work.

Among the many minor characters who are sketched out nicely is Roboto (Kristen Wiig), a warrior robot now turned into a helper robot, who has a mouth as much as a punch.

However, Masters of the Universe is too eager to rush into fights, with no coherence about where and to what effect the battles are being waged – just that they are.

When the Sword won’t help Skeletor as he holds it up and declares the magic words “I have the Power”, Evil-Lyn advises him to try again: “Once more, with feeling.”

This is once more – you can’t shake off that feeling.

He-man and the Masters Of The Universe - Official Final Trailer | In Cinemas June 5

MASTERS OF THE UNIVERSE - Teaser Trailer English | Exclusively In Cinemas 5 June

MASTERS OF THE UNIVERSE - Teaser Trailer (Hindi) | Exclusively In Cinemas 5 June

MASTERS OF THE UNIVERSE - Teaser Trailer (Telugu) | Exclusively In Cinemas 5 June

MASTERS OF THE UNIVERSE - Teaser Trailer (Tamil) | Exclusively In Cinemas 5 June

He-man and the Masters of the Universe - Official Hindi Trailer | Exclusively in cinemas June 5

He-man and the Masters of the Universe - Official Telugu Trailer | Exclusively in cinemas June 5

He-man and the Masters of the Universe - Malayalam Trailer | In cinemas June 5 | Unni M | Adithya M

He-man and the Masters of the Universe - Tamil Trailer | In cinemas June 5 | Karthik S | Adithya M

He-Man and the Masters of the Universe

He-Man and the Masters of the Universe

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