Masters of the Universe (2026)

The critic praises this colorful, nostalgic reboot as a fun, irreverent fantasy adventure that captures the cartoon's joyful spirit and offers a timely antidote to toxic masculinity. Travis Knight's direction is singled out for bringing bright energy and heart to the material.

The critic calls it a fitfully amusing redo that clears a low bar set by the 1987 version but remains too cute and inconsistent. Skeletor stands out as the weird highlight amid the self-conscious jokes and toy-loving sincerity.

The review finds the film starts with promise in its day-glo fantasy setup and cast performances but ultimately lacks the spark to elevate it beyond standard blockbuster fare. Tonal inconsistencies and an overlong, uneven script are highlighted as drawbacks.

The review portrays the film as a derivative fantasy epic that gives He-Man the Barbie treatment, emphasizing big muscles over heart while still celebrating them. It highlights the lead's performance as a swole himbo in a story that struggles to balance sincerity and satire.

The critic finds the film exhaustingly jokey and forced in its self-referential humor, making it mainly appealing to hardcore fans rather than a broad audience. The relentless camp and lame gags undermine any genuine engagement with the material.

Travis Knight takes a winking approach to the self-aware source material and leans into its ridiculousness in a way that largely works. The result is a colourful, fun chase movie that appeals to kids and nostalgic adults alike, though it could use sharper scripting and more narrative drive.

Nicholas Galitzine embodies a modern, sensitive version of He-Man in this light-hearted, self-aware reboot that updates the character with a toxic-masculinity-averse approach. Action sequences thrill but feel generic, humour sometimes undercuts emotional beats, and the film struggles to stand out among other reboots despite its charisma and spectacle.

The critic finds the film embarrassed by its own premise of muscles and male heroism, constantly apologising for its existence through innuendo and self-satire. It singles out the thin sticking plasters of humour that eventually wear thin.

The critic praises Knight and Galitzine for modernizing the macho character into a sensitive, self-aware comedy about masculinity, with Galitzine embracing the dorky human side. The flat script and obvious humor are noted as drawbacks amid the fan service and effects.

The critic notes the film's playful, self-deprecating approach to its source material and Knight's attempt to add humanity to franchise fare, but concludes it fails to sustain its charm over the extended runtime. The mix of irreverence and conventional action is seen as hit-or-miss.

The critic calls the film a weak big-budget misfire and a $200m waste of time on outdated toy IP. The main complaint is the script's crippling indecision between winking parody and earnest adventure, resulting in an awkward, unfulfilling experience.

The critic sees the film as a self-aware corporate blockbuster that acknowledges the goofiness of He-Man and benefits from a sincere yet skewed approach. Galitzine delivers in the action sequences after a loose, amusing performance as the mild-mannered hero.

The critic describes the reboot as a brain-vaporising misfire that constantly tells viewers how right they are not to enjoy it. It singles out the constant self-aware jokes about its own corniness and datedness as the central flaw.

The critic examines the attempt to update the He-Man property for modern audiences with added gay innuendo, questioning whether it can succeed like Barbie. The tone mixes irreverence with the challenges of retooling the 1980s toy franchise.

The critic finds the film a jokey but bloated nostalgia trip that lampshades its own uncoolness without fully committing, feeling past its time at 141 minutes. Galitzine provides spark as the bewildered hero, but the script's mix of earnestness and irony falters in the extended action.

The critic hails the film as a nearly perfect sci-fi fantasy epic that looks stunning and rejects the dark, grounded style of modern blockbusters. They single out the vibrant, colorful visuals and sincere maximalist spectacle for praise.

The critic finds the film works on its own terms with a younger attitude, genuine humor, and an appealing performance from Nicholas Galitzine as He-Man. They single out the light and moving tone and script, along with strong production values and battles staged by director Travis Knight.

The critic praises the film's decision to embrace a silly, campy, and self-aware tone rather than taking the material too seriously. They single out the goofy approach to the iconic costume and characters as a highlight that makes the adventure fun.

The film attempts to blend a nostalgic 1980s kids' adventure with self-aware postmodern comedy but struggles with tonal dissonance, resulting in a confused mix that undercuts its emotional beats. It succeeds more with the villains, particularly Jared Leto's Skeletor and Alison Brie's Evil-Lyn, than with its hero's journey or attempts at deeper themes.

The critic calls it a confused and embarrassed sci-fi fantasy flop that is sloppy and could kill 1980s nostalgia. They complain about the inconsistent message on violence, cheap-looking effects despite expense, and smug self-awareness that embarrasses the source material.