THE STORY – 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.
THE CAST – Nicholas Galitzine, Camila Mendes, Alison Brie, James Purefoy, Morena Baccarin, Jóhannes Haukur Jóhannesson, Kristen Wiig, Jared Leto & Idris Elba
THE TEAM – Travis Knight (Director), Christ Butler, Aaron Nee, Adam Nee & David Callaham (Writers)
THE RUNNING TIME – 132 Minutes
It may be a tired adage at this point, but the rate at which the major movie studios find themselves running out of ideas can sometimes be astounding. It’s not uncommon to reach back and elevate a property that’s been dormant for decades. The practice has been used many times before to reinvigorate a particular fandom’s curiosity about a franchise or story they were previously familiar with and drive them to support their nostalgic memories. But sometimes, this obsession to rely so heavily on already existing material is so narrowly focused that the aim seems to lose sight of the forest for the trees. For instance, it would seem rather laughable to try another adaptation of a story meant only to sell toys to little kids forty years ago, which have long since aged out of that demographic. Even more galling would be to resurrect a previous attempt at adaptation whose failure was so notorious that it bankrupted the studio that financed the project. However, time heals all wounds, supposedly, and “Masters of the Universe” has been given yet another shot at redemption. While it may avoid the most catastrophic choices made by its predecessor, its clashing tones never truly indulge in what should be a celebration of cheesy material. Instead, it becomes a tedious slog to get through.
The opening moments regale the audience with the tale of how our hero, Prince Adam Glenn (Nicholas Galitzine), came to flee his native land of Eternia. This fantasy realm, filled with magical creatures and dark sorcery, came under the rule of the evil tyrant Skeletor (Jared Leto), whose quest for power required him to capture the Sword of Power. This ultimate weapon would grant unlimited strength to those who possess it. When the kingdom came under siege, Adam was hurried away by a sorceress through a portal that led to Earth. The sword was lost in transit, and Adam has spent the last fifteen years fulfilling a mundane life in Oklahoma while also tracking it down. When it’s finally in his grasp again, figures from his past resurface to bring him back to his now-altered homeland. Teaming up with Duncan (Idris Elba), the king’s trusted general whose previous defeats have battered his spirit, Teela (Camilia Mendes), Duncan’s daughter whose a fierce warrior in her own right, it is up to Adam to discover the strength necessary to defeat this new evil, not only bringing peace back to the land once again but also learning what truly makes a worthy hero.
Given the troubled history of other attempts to bring this story to the screen, director Travis Knight had a difficult task ahead. After all, the original cartoon show and toy line can hardly be seen as the place for rich storytelling. However, the fantasy world is a solid foundation to build on, allowing for a playful tone and impressive set pieces. When it comes to the latter, Knight might very well find the scope he presents to be satisfactory, but most of it falls flat. Most of the hand-to-hand combat scenes are stilted in their presentation when it becomes very obvious that the mass of people fighting a single character is polite enough to hover in the background and wait their turn. When the action is scaled up, so are the weightless CGI bodies being thrown around, and the greenscreen backgrounds become more obvious. There are engaging sequences scattered about, with a particular highlight being an assault in a mountain that actually utilizes more creative choreography in how Adam dispatches the minions. However, the filmmaking struggles to relish the moment truly and delivers scenes that rarely rise above perfunctory.
The stale set pieces are linked to the biggest issues in this screenplay. At every point, the writing is determined to remind you just how silly this property is. Obviously, a group of mythical warriors with ridiculous names and vague powers is going to carry some irrelevance. But the script is determined to underline this sentiment, almost as if it is embarrassed to be based on such material. There are constant winks and nudges to the ribs about how odd it is that this world exists, whether that be Earth’s population being overtly sensitive weirdos or playing up Skeletor’s maniacal laugh to the point it runs out of steam and leaves his underlings confused. It acts more like a parody, a self-aware acknowledgment that betrays the earnest authenticity of this landscape. It’s a tightrope that something like “Dungeons & Dragons: Honor Among Thieves” was able to navigate, and that was a much better blueprint to follow. Here, the constant jokes are out of step with the narrative, laughing at these situations rather than enjoying the fun of the moment.
This issue also speaks of a conflict in what exactly the thematic perspective here is meant to be. Despite being based on what might feel like disposable source material, there is a running theme about the ideas of masculinity. Adam appears to be on a track that is meant to convey that the strength he seeks is not merely physical prowess or violent acts. It’s supposed to be linked to his sense of empathy and kindness, which he’s also learned. Where he has learned this lesson exactly is a mystery. He’s not shown many displays of compassion on Earth, nor is this lesson imparted by anyone he meets in Eternia. The message about taming a form of toxic masculinity through emotional maturity is completely undermined by the finale, which chooses to indulge in a stylized brawl rather than the poorly set-up thematic commentary. It’s also odd for a film that wants to talk about other ways to define masculinity away from the 1980s viewpoint to constantly make references to Skeletor admiring Adam’s toned body and the innuendoes about his massive sword in a manner that is definitely intended to evoke laughter that doesn’t always seem earned. The film wants to revel in the action, undercut its thematic weight, and completely muddle its tone. All of that also contributes to an abysmal sense of pacing, with the momentum becoming so inconsistent that the moments that should sell the dramatic stakes end up grinding things to a complete halt.
Credit is certainly given to Galitzine for embodying the role’s physicality, and he does manage to find enough humorous moments to become endearing. Still, his delivery is mostly flat, and much of the physical comedy he is tasked with does not play to his greater abilities. There isn’t a whole lot of chemistry with Mendes either, and she fades into the background as a capable fighter whose screen presence is muted. Thankfully, Elba is a constant delight as a character who must overcome his drunken state on the path to redemption, and he exudes a captivating aura whenever on screen. Admittedly, Leto is rather captivating, with his posh British accent that really accentuates the hyperbolic villainy of the character, which is only ever betrayed by attempts to make him appear like a foolish antagonist. These are really the only characters able to make an impact, because there is very little explanation of who anyone else is. Fans no doubt may recognize and cheer the appearance of these ensemble players, but there’s nothing to establish anyone’s backstory or relationship. It is not only frustrating when trying to establish a baseline connection, but their participation in the final battle elevates their status to a level that is just not earned. Though props to the always fantastic Alison Brie as Evil-Lyn, who can make the biggest impression with just a flash in her eyes.
What’s ultimately the most frustrating element of “Masters of the Universe” is how the presentation seems unsure about who its audience actually is. If it is meant for the Gen X crowd that grew up with the animated show, it feels too cynical and dismissive of the world it showcases to be earnestly enjoyed. If it’s meant for outsiders or a younger crowd, the issue is that it doesn’t lay a solid foundation for building these characters and connecting with them in a novel way. The arena being explored here would be more appropriate if it were meant to be the literal show our main character watched as a child, which would conveniently justify the contrivances and create a more celebratory tone. Instead, the action sequences are banal, the narrative underwhelming, and the acting unextraordinary save for a few standouts. Maybe there is room one day for a thoroughly enjoyable render of this material, but this is sadly not the finest effort.
