There comes a point in everyone’s life when we are told to put away the toys and start taking ourselves seriously, since childhood activities do have to come to an end at some point. For whatever reason, there’s a pervasive belief that imagination is reserved only for those who have the privilege of luxuriating in some of life’s more abstract experiences. Yet, there has been a growing movement towards recapturing the joyful, reckless abandon of childhood, reigniting those feelings of being carefree that many of us lost at some point in the past. I’ll always appreciate an artist who puts in a concerted effort to remind us of a time in our lives when everything was so much simpler and straightforward – and few have been more committed to this than Travis Knight, who has quickly proven himself to be an essential voice in contemporary cinema, both in terms of the creation of the company Laika (which has quietly revolutionised the animation industry, and is quickly becoming an exceptionally important studio), and for his own directorial efforts, each one of them being a well-crafted, memorable work that highlights his incredible talents and impeccable ability to make films that draw in an exceptionally broad portion of the audience. Rather than restricting himself only to animation, he has started to branch out into live-action, with one of his recent endeavours being a long-gestating passion project, Masters of the Universe, which is based on the franchise started by Mattel that defined countless childhoods, whether in the form of the action figures or the various television series or films which took inspiration from these iconic characters. His version of Masters of the Universe is an origin story of Prince Adam, otherwise known as He-Man, the dashing and heroic leader of a ragtag group of warriors who defend the kingdom of Eternia, with their main rival being the malicious Skeletor, who will do anything to gain unlimited power. A wickedly entertaining film that takes some bold swings while also never forgetting from where it comes, Masters of the Universe is an absolute blast of a film, and certainly one that is far more memorable than many recent attempts to tell similar stories.

Genres like science fiction and fantasy have always been popular, being a mainstay in every conceivable medium, since audiences tend to be drawn to more unconventional stories that offer guaranteed escapism. However, both genres have gradually fallen victim to the over-emphasis on franchises, with the belief being that anything that doesn’t have its roots firmly in a property that is tried and tested is too much of a risk. It is true that Masters of the Universe is based on something that has been a part of the culture for decades, but it has grown to be slightly more niche as the years have progressed, to the point where making a film based on these characters can still be considered a minor gamble in many ways. However, Knight is nothing if not entirely committed to doing what he can to remind us of why these films were so popular decades ago, and he succeeds wholeheartedly. Whether it is in the sword-and-sandal epics or the more off-the-wall works that playfully defy logic, audiences have always had a soft spot for films infused with fantasy, especially those that don’t take themselves entirely seriously. The apex of the genre is up for debate, but Knight was evidently trying to recreate the kinds of films that he likely devoured in his own childhood, since there are clear references to films like The Dark Crystal and Labyrinth, films that raised many people and continue to resonate deeply, mostly because of how they combine recognisable stories with more offbeat scenarios, allowing us to leap into other worlds while still being tethered to our own, even if only by the narrowest of threads. Masters of the Universe exists at the perfect intersection of the familiar and the abstract, being a well-crafted fantasy film that contains resonant discussions around identity, family and the ongoing search for a sense of belonging, as well as the purely entertaining, off-the-wall fantastical elements that draw the viewer in, giving us something that is both enjoyable and genuinely touching. For the most part, the film doesn’t try too hard to assimilate too many complex ideas, but there are subtle details that underline the astonishing amount of thought that evidently went into this film, showcasing the incredible skill that it took to bring these ideas to life.

While we can appreciate the narrative nuances that populate Masters of the Universe, this is ultimately not the main aspect that defines the film. Instead, it is the execution that draws us in, and it is not at all surprising that the director would choose to embrace the genre as it was in the past, rather than trying to update it to the present day in a way where it loses so much of its original lustre. I’m often reminded of the great cinematic iconoclast Joel Schumacher, who famously said (when confronted with the idea that one of his actors was doing too much on screen) that “no one pays to see under-the-top”, which is the kind of ludicrous but accurate assessment that has guided many a fantasy film. There’s a tendency in recent years to adapt existing properties in such a way that they are grittier and more serious, under the misguided belief that audiences crave realism. Knight evidently does not fall for what is clearly a fallacy, since every moment of Masters of the Universe is bursting with energy and life, the likes of which we don’t see very often these days, which immediately helps it stand out in a genre that can often feel too subdued and sombre, meaning that anything even vaguely colourful (whether visually or tonally) is immediately going to pique our curiosity. We certainly do get our money’s worth with this film, which is positively bursting with the kind of unique energy that reminds us why we fell in love with these stories in the first place. It is not a very subtle film, and it can sometimes look quite artificial, but entirely by design – no one is going to be interested in this story if it took a more dour approach, but this doesn’t mean Knight’s style is any less impressive. It’s refreshingly compelling and genuinely very entertaining, with the blending of comedy and adventure making for an enthralling experience that feels so much more invigorating than it had any right to be, which is all part of its appeal. It’s also extremely well-made, with the detailed recreations of this iconic story paying incredible tribute to not only the original material, but the entire genre as a whole.

We don’t often expect to find genuinely great performances in these broad fantasy films, but Masters of the Universe has plenty of them, which is another aspect that warrants our praise. Rather than casting the most obvious people who will be immediate draws for the audience, Knight chooses instead to go with the actors who he feels can best embody these characters. After several actors were under consideration for the part of He-Man over the years, the role ultimately ended up going to Nicholas Galitzine, who has more than proven himself as one of the most interesting young actors working today. Not only does he look the part (although he deserves credit for the physical transformation that he underwent to fully play the character, his dedication not being overlooked), he also has the genuine charisma and undeniable comedic timing that aligns perfectly with the director’s vision for the character. Prince Adam is, at his core, a very goofy and offbeat character, and rather than going with an actor who could play into the inherent bravery and machismo of the character, Knight chooses someone who could take an interesting approach that places the more intimate, personal aspects of the character at the forefront. He’s joined by Camila Mendes as his closest companion and arguably the voice of reason, Teela, while Idris Elba gradually continues his transition into playing mentors, taking on the part of the wise (but still very funny) Duncan, a surrogate father figure to many characters in the film. The part of Skeletor is given to Jared Leto, and while he does seem to be an odd choice for the role (and is deservedly considered persona non grata for clear reasons), he commits wholeheartedly to the part of the main antagonist, reminding us that he is capable of delivering stellar work when it is required of him, fully capturing the madness of the role in an opportunity where his tendency to overplay everything actually becomes an asset rather than a liability. The cast is uniformly very good, and absolutely everyone is committed to this wacky premise, bringing everything to their individual roles and coming together to form something quite special and ultimately elevating Masters of the Universe further than many would’ve expected at first.

While it may not quite hit all the right marks that made the peak of these ambitious, off-the-wall fantasy films so entertaining (which is nearly impossible to recreate), it’s undeniable that Masters of the Universe is a fantastic step in the right direction, and proof that filmmakers like Knight (as well as  Jonathan Goldstein and John Francis Daley, whose Dungeons & Dragons: Honor Among Thieves was another strong entry into the revival of these audacious fantasy films) are certainly well-equipped to handle these properties in such a way that feels fresh and exciting, rather than just resting on their laurels and hoping that audiences will be motivated by a blend of nostalgia and curiosity in order to embrace these films. The reason this film works so well is because it is made by a filmmaker who knows exactly what he wants to achieve, and who is willing to go to any lengths to realise that vision, being assured in the belief that the right amount of work will allow these more unconventional ideas to manifest into something that is far more interesting than the run-of-the-mill fantasy films that may be visually impressive, but lack the substance and soul that define this film. It has a lot of unique energy that cannot be manufactured, and instead emerges far more organically, a result of a group of very talented artists coming together and creating something truly memorable from a premise that may seem abstract at first, but becomes entirely believable under their careful watch. Masters of the Universe represents a considerable step forward for a genre that has seemingly lost a lot of its charm over the years, but which we’re slowly starting to see being subjected to a long overdue revival, one driven less by spectacle and more by the desire to capture the spirit of these original works – it may not quite reach that point, but it comes incredibly close, more than enough to warrant our admiration and sincere affection, and ultimately being a far more captivating affair than it had any right to be, being wildly entertaining, deeply moving and incredibly well-crafted, proving that the right amount of effort and affection can yield incredible results.