Masters of the Universe

Barbie for boys, right? That had to be the pitch echoing around Amazon headquarters a few years back. Director Travis Knight's Masters of the Universe - screenplay by Chris Butler, Aaron Nee, Adam Nee, and David Callaham - attempts a similar sort of trick as Greta Gerwig's film by ascribing three-dimensional torments and traumas to plastic, two-dimensional characters. Although not directly dissected within the piece, this Masters of the Universe (like Barbie) posits an unchanging layer of reality, distinct from our own lived experience, that operates with the strange, impenetrable logic of children at play. Soldiers, who cannot understand that they are toys, stand glowering at their mutated opponents; the front line of a war trapped in perpetual stalemate. This impasse holding until the imagination that is arranging these battles returns and completes their game. They don't even have names without him. So, after escaping through a swirling portal in the midst of a coup, Prince Adam of Eternia is stranded on Earth for fifteen years, desperately searching for the power sword he lost in psychedelic transit. 

Like the title character in John Milius' Conan the Barbarian, any interim between the sacking of his kingdom and the mindless toil that greets him in manhood - the Cimmerian endlessly turning an enormous grain mill, singlehandedly; Prince Adam working for HR in a strict, backbiting American office - is deemed extraneous and elided here. Unlike Margot Robbie's doll though, Nicholas Galitzine's pretender to the throne isn't yet the finished article. He hasn't completely assumed the role of beloved action figure. The rotoscoped, cornball antics of Filmation's He-Man and the Masters of the Universe television series may exist as a yet-to-be-achieved state of success within Knight's film but, this blaring simulacrum aside, there is something very different about Prince Adam the person. Surrounded by stock characters and bullied incessantly as a child for his perceived weakness, Adam is, as his mother hints, unstuck and atypical in this setting. He doesn't instantly fulfil a role within the wider play setting. He is, in fact, a chimera: a hybrid that combines the imaginative energies that course through this fictional realm with the deeper, much more complicated emotional range of an actual human being. 

Adam's assumption of Grayskull's cosmic power then a condition of an uncanny birthright - his mother a lost astronaut originating from Earth; his father an unsparing, PVC warrior - that allows him to channel and iterate on hackneyed skirmish. This boon isn't then something that can passed freely between the rest of Mattel's product range. Impressively loud, thanks to Daniel Pemberton's thundering score and Brian May's superheroic licks, Masters of the Universe may betray a similar sort of studied irreverence as a Taika Waititi Thor (or last year's A Minecraft Movie for that matter) but Knight's vision is presented with a kind of 5½ inch fluency that registers as celebratory rather than mocking. So, Karg and even Pigboy (as well as Dolph Lundgren in a cameo that plays like a DVD extra) from 1987's Masters of the Universe cohabit with characters plucked out of syndicated cartoons, Little Golden Books, and a Trap Jaw, played by Sam C. Wilson, that could be kin to Chris Cunningham's Mean Angel from 1995's Judge Dredd. This lovingly curated brand maintenance (as that is exactly what this is) exists within a piece that, as well as Arnold Schwarzenegger's breakthrough hit, quotes liberally from the stadium rock wing of the action-fantasy canon: Queen tracks are lifted straight out of Highlander to serve space opera theatrics on loan from Mike Hodges' Flash Gordon. All of which is to say that, in presenting itself as a mutant patchwork of clashing, barely compatible sources, Masters of the Universe 2026 is an appropriately cacophonous adaptation of a 1980s toyline.