Release Date: June 5, 2026 (U.S.); world premiere at TCL Chinese Theatre, Los Angeles, May 18, 2026
Runtime: 2 hrs 20 min (140 minutes)
Rated: PG-13 – sequences of violence/action, some suggestive material, and language
Production Companies: Amazon MGM Studios, Mattel Studios, Escape Artists
Producers: Todd Black, Jason Blumenthal, Steve Tisch, Robbie Brenner
Cinematography: Fabian Wagner
Editing: Paul Rubell
Music/Composer: Daniel Pemberton
Masters of the Universe (2026)
Director: Travis Knight
Writers: Screenplay by Christ butler, Aaron Nee, Adam Nee, and David Callaham. Story by Aaron Nee, Adam Nee, Alex Litvak, and Michael Finch. Based on the Masters of the Universe by Mattel.
Cast: Nicholas Galtizine, Camila Mendes, Jared Leto, Idris Elba, Alison Brie, Morena Baccarin, Jóhannes Haukur Jóhannesson, James Purefoy, Charlotte Riley, Kristen Wiig, Kojo Attah, Sasheer Zamata, Hafþór Júlíus Björnsson, Jon Xue Chang
What does it mean to be the most powerful man in the universe when you’re still struggling to understand yourself?
That question sits at the center of Travis Knight’s Masters of the Universe, a surprisingly introspective reimagining of the beloved franchise that trades simple displays of strength for a story about identity, vulnerability, and self-discovery. Clocking in at nearly two and a half hours, this latest big-budget adaptation has plenty of mythology, spectacle, and franchise-building ambitions on its mind. The question is whether its journey proves worth the lengthy trek to its climactic destination.
Nicholas Galitzine as Prince Adam/He-Man makes a compelling argument as one of the film’s strongest assets—though, surprisingly, not its strongest. Alongside series staples Teela (Camila Mendes) and Chief of the Royal Guard Duncan (Idris Elba), Adam embarks on a journey that spans far beyond physical transformation. It is a coming-of-age story rooted in self-discovery, following a young man attempting to understand who he is as he transitions from adolescence into adulthood and beyond.
As aforementioned, the surprise MVP comes in the form of the villainous yet charmingly humorous Skeletor, portrayed by none other than Jared Leto in one of his most convincing performances to date. At his side is Professor Evelyn Powers (Alison Brie), who, in her own right, fits appropriately—and at times uncomfortably—alongside Skeletor’s darker tendencies. Brie balances the character’s more sinister nature with an unpredictability that keeps her presence engaging throughout.
Leto’s Skeletor serves as more than a traditional villain. He represents the inverse of Adam’s journey. While Adam spends the film learning that power alone does not define him, Skeletor remains consumed by the pursuit of it. The result is a surprisingly effective dynamic between hero and villain, transforming what could have been a straightforward fantasy conflict into a clash of opposing worldviews. Leto leans into the character’s theatricality without reducing him to parody, allowing Skeletor to remain both entertaining and legitimately threatening.
At the center of the story is a surprisingly modern exploration of masculinity and the importance of embracing every facet of oneself in order to truly grow and flourish. The Sword of Power, in this iteration, appears less like a source of strength and more like a symbol of it. That distinction becomes increasingly important as the film unfolds and reveals what it is truly trying to say beneath the fantasy spectacle.
What makes Knight’s interpretation of He-Man surprisingly effective is its willingness to question the very mythology the franchise was built upon. Previous incarnations often treated the Sword of Power as a literal source of strength. Here, the sword functions more as a symbol than a solution. Adam’s journey is less about becoming physically stronger and more about understanding who he is without the validation of power itself.
In that regard, the film quietly becomes a commentary on contemporary masculinity. Adam spends much of the narrative searching for a version of himself he believes he should be, only to discover that heroism stems from vulnerability, empathy, and self-awareness rather than brute force. The irony is that the “most powerful man in the universe” is at his weakest when he is attempting to perform strength and at his strongest when he embraces every facet of himself.
One of the film’s strongest surprises is its sense of humor. It remains faithful to the spirit of the franchise while simultaneously modernizing its perspective. The film is surprisingly self-aware, recognizing the absurdity of placing Adam in contemporary society, specifically in an HR position often stereotyped as being more “feminine” in nature. Much of the comedy stems from Adam’s attempts to reconcile society’s expectations of masculinity with his own insecurities surrounding power, identity, and purpose.
Apart from the humor, Knight’s direction deserves considerable praise. The dialogue, comedic timing, and performances consistently work in favor of making Adam’s predicament oddly relatable despite the larger-than-life fantasy surrounding him. Knight understands that these characters exist within a universe that is inherently ridiculous, but he never treats them as a joke. Some characters approach every situation with complete sincerity, while others, such as Teela, seem fully aware of the whimsy of the world around them. That balance allows the film to maintain its emotional sincerity without sacrificing its entertainment value.
The film’s greatest obstacle is its runtime and dependence on CGI spectacle, even if much of that spectacle feels necessary for a universe of this scale. At nearly two and a half hours, there is certainly room to trim some of the excess from the final product. Several effects-heavy sequences, while visually impressive, occasionally feel as though they exist to showcase the film’s budget rather than advance the narrative.
Its greatest weakness, however, is its tendency to prioritize world-building over momentum. Masters of the Universe occasionally feels burdened by the responsibility of launching a cinematic universe rather than telling a complete story. Several sequences exist primarily to introduce future possibilities, and while longtime fans may appreciate the expanded mythology, newcomers may find themselves waiting for the narrative to refocus on Adam’s personal journey. The result is a film that occasionally mistakes scale for substance.
Masters of the Universe ultimately feels less like the beginning of a story and more like a proof of concept for a larger universe. That isn’t necessarily a criticism unique to this film. Hollywood has increasingly adopted a strategy of treating major releases as franchise auditions, gauging audience interest before fully committing to future installments.
In many ways, Masters of the Universe resembles what A24 appears to be doing with Backrooms—a project whose appeal lies not only in its immediate story but in the expansive mythology and potential that surrounds it. Likewise, it recalls the current uncertainty surrounding the planned continuation of the 28 Years Later trilogy, where the success of each installment appears tied to determining the future of the franchise. The difference is that Masters of the Universe already possesses decades of lore, characters, and world-building to draw from, making this first entry feel less concerned with establishing a definitive standalone story and more interested in demonstrating the possibilities of what comes next.
That approach will undoubtedly frustrate some viewers, particularly those hoping for a more self-contained experience. Yet it is difficult to deny the potential on display. Beneath the spectacle, mythology, and franchise setup is a film genuinely interested in reexamining what He-Man represents for a modern audience.
While not every creative choice lands and the film occasionally buckles under the weight of its own ambitions, Knight’s Masters of the Universe understands something crucial about adapting legacy properties. Rather than simply recreating the past, it attempts to reinterpret it for a new generation. Anchored by strong performances from Galitzine and Leto, sharp humor, thoughtful themes, and a surprisingly effective examination of masculinity and self-worth, the film establishes a promising foundation for whatever comes next.
By the time the credits roll, the door is left wide open for future adventures. More importantly, the film leaves behind a compelling reminder that true power has never been about the sword itself, but the person willing to wield it.