Masters Of The Universe (2026)

I know that I moan about fan service when a film or TV show has nothing more to offer. It's something that crops up a lot, whether related to older properties being refreshed for a modern audience or the many horror movies pandering to people who are resistant to any change. Masters Of The Universe is full of fan service, BUT it's all done incredibly well, and it never brings everything to an abrupt halt. There's also plenty going on to surround all of the fan service.

Directed by Travis Knight, who is now three for three with the features he has helmed, this is a bright and fun fantasy film that makes use of a great cast and paces things well enough to help the 140-minute runtime whizz by. Writers Aaron Nee, Adam Nee, Chris Butler, and Dave Callaham get so much right that it's easy to forgive the minor failings, which all crop up in the first act before the film really seems to grow in confidence, ironically at about the same time as our hero.

Nicholas Galitzine is Adam, a young man who is trying to convince people that he's actually a Prince from another world, Eternia, and searching for a magical sword that will help him to gain immense power, readying him to rescue his home from the bony grasp of Skeletor (Jared Leto). Everyone thinks he's mad, of course, until he eventually finds the lost item . . . and then can't seem to use it. Maybe Teela (Camila Mendes), an old childhood friend now a capable warrior, can help him to stay alive long enough to figure things out.

I was worried during the earliest scenes in Masters Of The Universe. It seemed to be a bit unsure of itself, having to get the exposition delivered while tending to do the Marvel schtick of undercutting any heroics or ending any brief action beat with a joke. At least the jokes worked, but I was still worried about it sticking to that template throughout. Amazingly, it doesn't do that. Instead, you start to get something that blends unabashed earnestness with a different kind of humour, the sort of silliness that fans of the property will recognise from their own thoughts and conversations about the various characters populating Eternia. 

Despite having to spend a lot of the time wearing clothing to cover his physique, Galitzine works as both the insecure and "weak" Adam AND the mighty, sword-wielding, He-Man. He looks the part throughout, and also grows into the role in a way that feels organic and absolutely believable, despite the fantastical context. Mendes doesn't need any similar journey. Her character is absolutely confident throughout, and she's also perfect in her role. As for Leto . . . dammit, it may be his best work in years, helped by the fact that you probably wouldn't even recognise it was him playing Skeletor if he wasn't the one in the credits. The line delivery, the laugh, the physicality, Leto delivers a fantastic turn that helps to keep Skeletor as fun and menacing as he should be. Idris Elba is very good as Duncan AKA Man-At-Arms, Jóhannes Haukur Jóhannesson eventually accepts the name of Fisto, and both Alison Brie and Morena Baccarin are good to watch as two very different types of sorceress, the former being Evil-Lyn and the latter simply billed as The Sorceress. There are also some brilliant cameos, most I won't spoil, including Kristen Wiig voicing Roboto, a battle robot that has been turned into a domestic cleaning robot, but could help our heroes a lot if given her access to weaponry back.

The fact that I watched this and started to wonder whether or not it could be time for us to have another take on Flash Gordon perhaps tells you everything you need to know. Then I was impressed by the film-makers having the confidence to use the Queen track from ANOTHER classic fantasy flick. Whether recreating the imagery from the cartoon or not, the visuals are generally a delight, the score from Daniel Pemberton is absolutely fantastic throughout, and the only other disappointment I had after the end credits rolled was the knowledge that it wouldn't necessarily out-perform some (to me) lesser films at the box office, meaning any sequels and/or spin-offs are sadly not guaranteed. But if they do happen, consider my tickets pre-ordered ASAP.

9/10

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Prime Time: Greenland 2: Migration (2026)

With most people back in their main roles, both in front of and behind the camera, Greenland 2: Migration is an unexpected sequel to Greenland, obviously. Considering that film was about an Extinction Level Event (ELE), you would suspect that the story was all done. Not so. There may be some hope for those who found a way to survive. Especially if you're the Garrity family (made up of Gerard Butler, Morena Baccarin, and Roman Griffin Davis, the latter replacing Roger Dale Floyd as the youngest family member).

It is five years after the events of the first movie. A number of people are living in an underground bunker, but more trouble is coming. The environment is still harsh and dangerous, which forces people to come up with a plan to move. There's rumour of a habitable environment at a major comet impact point, but getting there will be a hell of a challenge. Your odds seem greatly improved when Gerard Butler is the head of your family unit though.

Mitchell LaFortune joins Chris Sparling on the writing duties this time, and the two of them have a fairly easy task. Remind viewers of the current situation, put the latest events in motion, take characters on a journey that keeps putting a number of obstacles in between them and the potential safety and optimism of their final destination.

Director Ric Roman Waugh feels very much at ease with his job. He knows what needs to be done, and he keeps most of the scenes focused on the star, Butler. It's a shame that he doesn't do much else though, with the experience of watching this movie akin to the trudgery that the onscreen characters go through. You could argue that nothing in the rest of the movie is as intense or entertaining as the opening scenes, and that makes the 98-minute runtime drag out as it becomes a case of waiting for what seems like an inevitable finale.

Butler does fine in his role, once again being enjoyably stoic and a very capable, if reluctant, hero. Baccarin gets less to do, but remains alongside him in a pretty thankless role. Davis has one or two moments that show him struggling to stay adjusted to post-comet life, but it feels like lip service to something that would surely be much more intense and difficult to process. There are a few other characters allowed to pop in and out of the narrative, but things stay pretty firmly held on the fate of the central family unit.

If you liked the first movie then you'll find some moments to enjoy here, but it's a big step down. There's no real sense of urgency, aside from the moments in the first act, and it's hard to feel truly worried about people we last saw surviving "the end of the world". Fingers crossed that we don't get a third movie, although that would probably involve a war for Greenland between the people living there and the inane 47th President of The United States.

5/10

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Prime Time: The Wrecking Crew (2026)

Dave Bautista and Jason Momoa star as two estranged half-brothers who reluctantly reunite after the death of their father. He was killed in a hit and run, but it soon becomes apparent that there was more to his death, and James (Bautista) and Jonny (Momoa) start an investigation that turns parts of Hawaii into a warzone as they upset bad guys, destroy numerous vehicles, and work their way up the chain to face off against whoever is the head villain behind everything.

Simple and entertaining, and even managing to feel well-paced for the 124-minute runtime, The Wrecking Crew is sometimes a nice throwback action comedy that is happy to make the destruction ridiculous, the main villain obvious, and every pay-off predictable. Writer Jonathan Tropper is happy to make the leads enjoyably childish when it comes to the insults and competitiveness between them, and he does well to refrain from adding too many twists and turns that would get in the way of the fun.

Both of the leads are good in their roles, with Momoa having the most fun of the two of them (being sillier and more irresponsible for most of the runtime), and there's a great supporting cast that includes Temuera Morrison, Roimata Fox, Frankie Adams, Claes Bang, Jacob Batalon, Morena Baccarin, Stephen Root, and one or two others you may recognise. 

While director Ángel Manuel Soto does well enough with the material, he fumbles things in a couple of ways. First of all, he overdoes at least one main set-piece. I enjoyed the ridiculousness and carnage of a sequence that has road vehicles and a helicopter targeting our heroes, but it's nowhere near as much fun as the moments that have more grounded and crunchy action. There's also at least one moment, a reveal, that would have worked better as a punchline to an earlier set-up, but it's simply presented without any other context to improve it. And don't get me started on the ill-advised Oldboy homage. These might sound like minor complaints, but they stand out more because of the other times that the film gets things just right. 

Anyone after an easy bit of entertainment should find enough here to enjoy, even if it keeps slipping up every now and again. I suggest a sequel, if we get one, keeps everything much more grounded, maybe kills off, or seriously hurts, one of the main supporting characters, and gives us a moment or two when we can at least consider the possibility that one of our leads is in very serious trouble. It would definitely be worth pairing up Bautista and Momoa again though. They play off one another well, and they feel very capable when it comes to the physicality of their fight scenes. 

6/10

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Prime Time: Elevation (2024)

Set three years after a world-altering event, Elevation is the story of humans surviving in a new position on the food chain. They're safe if they stay over 8000 feet, but some supplies are required. In fact, Will (Anthony Mackie) knows that he must explore beyond the safety zone in order to get a filter for oxygen filters that are necessary for the health and life of his young son, Hunter (Danny Boyd Jr.). Will convinces Nina (Morena Baccarin) to join him on his journey. Nina is a scientist who has spent a lot of time trying to figure out how to destroy the seemingly-indestructible predators that turned their world upside-down, and she was on a previous expedition that involved the death of Will's wife, Tara. Joining this duo is Katie, a good friend who refuses to let Will head off on such a dangerous mission with only Nina alongside him. And so begins an illogical distraction that should at least keep most viewers mildly distracted for 92 minutes.

There are some ways in which I cannot help but think of Elevation as something truly terrible. Unless we're supposed to be able to figure out all of the science for ourselves, there isn't enough information given for a couple of key points. One major detail, the reason for the safety zone of 8000 feet, is so ridiculous that even one main character asks about it at one point and is answered with a simple "I don't know". It feels as if this wants to be another A Quiet Place, or at least something very similar, but that film had enough excellent moments to help you overlook the plot holes and implausibilities. This does not. What it has is a couple of very watchable cast members in main roles.

Mackie is always very good onscreen, and I'm always happy to see him make the most of any opportunities that allow him to sneak out from under the looming shadow of his Marvel employer,  but he really needs to start making some better choices. A quick look at his filmography over the last five years doesn't paint a very pretty picture. I could say something similar about Morena Baccarin, but she has a knack for picking projects that at least feel a bit more eclectic, even if they're not actually very good. As the third wheel, Hasson does well alongside the two bigger names, even if she's only there to help give viewers someone else to be placed in peril as and when some more tension is required.

I've seen at least one other film directed by George Nolfi (that was The Adjustment Bureau way back when), and I've seen a few films written by John Glenn, but nothing, as far as I'm aware, from his co-writers, Jacob Roman and Kenny Ryan. That seems about right, considering how this feels strangely competent and slick, but also quite amateurish at times. It's a film made by throwing together elements that have worked better in many other films, but there's no real attempt made to then make it all a bit better. Pardon the pun, nobody seems to elevate the material.

That's the thing though. This is perfectly okay. If you have nothing better to hand. It's very standard content, and it feels like very standard content. I would have just preferred to have it feel like an actual movie though. Because movies are more than just content.

5/10

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Deadpool & Wolverine (2024)

You've got to hand it to Ryan Reynolds. He always knew he could portray the definitive movie version of Deadpool, and he managed to make it happen after some major setbacks (not least of which was his portrayal of a very mishandled Deadpool in X-Men Origins: Wolverine). And now we all get to enjoy the benefits of that long and bumpy journey, finally seeing a feature film that allows Deadpool and Wolverine to appear alongside one another.

Deadpool has been struggling. He has, in fact, hung up the suit, unable to find a way to actually matter. There is a way though. He is called to the Time Variance Authority, aka the TVA, by Mr. Paradox (Matthew Macfayden). Deadpool can be part of something bigger, he can matter, or he can stay alongside the people he cares about until his universe is soon destroyed, a necessary measure due to it beginning to die after the loss of Wolverine. Deadpool thinks that jumping into various timelines to find any other Wolverine to bring back into his world may stop the pending destruction of his own universe, but things become even more complicated when our (anti-)heroes end up in The Void, a place full of discarded personalities, basically ruled over by the powerful Cassandra Nova (Emma Corrin).

While writers Rhett Reese and Paul Wernick return to work on the screenplay with Reynolds, they are also joined this time around by Zeb Wells and director Shawn Levy. Levy has worked with Reynolds on a few different projects I have thoroughly enjoyed (although I know that some others have not enjoyed any non-Deadpool content from Reynolds in years), but his relatively tame and safe style makes him an unusual choice for this. It ultimately doesn't matter much though, because it's still Reynolds seemingly driving this iconoclast-mobile right through the middle of Marvel Main Street. A better director might have improved this, which would have helped, but the many jokes and cameos, the many Deadpool one-liners, and the simple joy of seeing our merc with the mouth finally sharing the screen with Hugh Jackman's Wolverine will keep most comic-book fans very happy. It's still difficult to argue against the Deadpool movies being a series of diminishing returns though. I loved the first, really enjoyed the second, and enjoyed this extra-silly final adventure (well, I assume this is a final adventure . . . because I struggle to think of how you do a better send-off for the character).

That is how this film works best, a send-off to some beloved characters. Aside from our titular leads, there are many others who get some time in the limelight (some arguably more deserved than others). Both Reynolds and Jackman remain perfect in their main roles, particularly when doing what they do best, but it's only the latter who can really work with the fleeting moments of real pathos. Not that Reynolds is incapable, but he's hampered by the nature of the character as showcased in the previous two movies built to fit him. Corrin does well with what they're given, and holds their own in one or two great moments with Jackman, but the film only needs them as a supporting villain in between scenes that point the finger at selfish and inconsiderate suits, headed up by Macfadyen, who bugger things up by meddling with timelines and discarding elements no longer deemed profitable. As for everyone else, Rob Delaney is as enjoyable as he has been in almost everything he's done, but I won't mention anyone else in case that ruins the fun and surprises for other viewers. Rest assured, however, there are some fantastic little turns from some very familiar faces, and a scene-stealing dog.

Deadpool & Wolverine will be a smash hit (it already is, judging from the figures for the opening weekend), and I will certainly revisit it as much as I revisit the other films in the series, or maybe I'll just revisit favourite sequences, but it's an adorable mess. The opening sequence is fantastic, there's a great fight in the middle, and a fairly satisfying . . . climax (*insert wink at reader here*). I'm just not sure how much fun the cameos will be once you know who is due to appear though, and some of the gags start to feel a bit tiresome after they have been repeated so often.

Does this clean things up for Marvel, or does it ultimately make things even messier? Does it really matter at all? I don't think so, and that has always been part of the appeal of the Deadpool movies. It's about enjoying the company of people who relish playing in the particular sandbox that they've been allocated. And, whatever you think of the end result, Reynolds has always put in maximum effort.

6/10

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Prime Time: Greenland (2020)

Having done his time protecting the President Of The United States, saving the world from terrorists, and even catching a dangerous submarine, Gerard Butler now gets to focus on trying to keep his onscreen family safe. I'm sure he has had a previous family-in-peril needing his strength and courage, but I can't think of any specific title just now, Because so many Gerard Butler movies just blur into one another. Which isn't that big a deal for me, mainly because I happen to like Butler anyway.

Butler plays John Garrity, a structural engineer. He's currently going through a difficult patch with his wife, Allison (Morena Baccarin), but the two of them try to put a brave face on things for the sake of their young son, Nathan (Roger Dale Floyd). They need to work even harder to keep brave faces when John receives an automated call as people group together to watch a passing comet. It turns out that the comet isn't just going to provide a pretty lightshow in the sky. It has bits falling into the Earth's atmosphere that will destroy entire cities. And one major chunk will bring about an Extinction Level Event. Heading to safety, the Garrity family finds numerous obstacles in their path, and the clock is ticking.

Written by Chris Sparling, a writer with a filmography that varies wildly in quality from the greatness of Buried to the sheer awfulness of ATM, Greenland is an entertaining disaster movie that wants to pretend it's a bit more grounded than most. It's really not, especially when you consider the coincidences required during almost every major plot beat, but it somehow manages to find a nice sweet spot between the more bombastic disaster movies and the likes of the more thoughtful, and disappointing, Deep Impact (note, don't hold me to that, as I am long overdue a revisit of Deep Impact, having not seen it since it first came out on VHS).

Director Ric Roman Waugh has an action thriller background (his previous film before this one being the Butler-starring Angel Has Fallen) and he capably delivers the goods here. You get some chases, you get a fight or two, and you also get some decent CGI causing big problems. The fact that this is a disaster film is almost secondary to the fact that it's a Gerard Butler film, for better or worse.

Butler is good in the lead role, one that doesn't really stretch him or take him out of his comfort zone, but it at least places him in a developing situation that feels a bit different from many of his other interchangeable movies. Baccarin is also good, even if she has to spend a lot of the movie hoping that she can stay alongside Butler while he offers protection and the possibility of escape. And then you have Floyd, a young actor who somehow manages to avoid being too annoying, even as his character makes things a lot harder than they otherwise could have been. Hope David, David Denman, Scott Glenn, and Holt McCallany are the other main names appearing here and there, all in small supporting roles as Butler, Baccarin, and Floyd attempt the seemingly impossible.

If you like disaster movies then there should be enough here to keep you entertained. If you like dramas with a bit of action dotted throughout then likewise. And if you like Gerard Butler movies then, well, you've probably seen this before spotting this review.

7/10

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Deadpool 2 (2018)

It's a running joke with people who know enough of my general movie opinions that I tend to be Mr 7/10. I can't really deny this, and yet I don't see anything too wrong with it either. Because, despite trying to see every movie that I can fit into my busy schedule, I will always tend to a) prioritise movies I think I am going to enjoy, and b) look for the good in any film I am watching. What the hell does this have to do with Deadpool 2, you may be wondering, apart from the obvious foreshadowing of exactly what my rating might be. Well, I rated the first Deadpool movie a 7/10 and felt the need to mention it here. It is, in a number of ways, a better film than this sequel, but it also had enough drawbacks to knock it down a few points. Not least among them was the fact that I'd seen the best sequence of the film in a rough version that was used to get the project support and traction, which it very much did.

Basically, you will know a lot of people who rate Deadpool higher than I did, but don't think that I disliked it. I laughed quite a lot. And I laughed quite a lot while watching Deadpool 2 (the biggest laughs involving some brilliant cameos and a mid-credit sequence that may well be the best superhero sting yet). It's a very good sequel . . . but it also has enough drawbacks to knock it down a few points.

Assuming you know the merc with the mouth, what's the story this time around? Well, DP (Ryan Reynolds again, of course) ends up trying to protect a young lad named Russell (Julian Dennison) from a time-travelling badass named Cable (Josh Brolin). There are still only a few X-Men allowed to join our (anti-)hero, budget allowing, but it's obvious that the success of the first film has made it possible to have even more fun this time around.

A lot of the main names return, with the notable exception of director Tim Miller, and that shows in the final product. This is a film that tells an interestingly different story from the first movie while maintaining a consistent tone and style, a "same but different" approach that is exemplified by the hilarious opening credit sequence. David Leitch is no stranger to the character, having directed the wonderful short film "No Good Deed" that showed Deadpool taking far too long to change costume while his help was needed, and he seems comfortable directing what we all know is essentially the chance for Ryan Reynolds to act like a kid in a candy store. If the kid was foul-mouthed and fast-talking and the candy store was full of dismembered limbs, drugs, and objects that could be used as improvised sex toys.

It goes without saying that Reynolds is superb again in the lead role, bagging all the best lines from the script (which he had a hand in, alongside Rhett Reese and Paul Wernick). Dennison gives another fantastic performance that has a number of nods to his previous star turn (in Hunt For The Wilderpeople) and Josh Brolin gives a "supervillain" performance that only comes second to the other main antagonist that he has portrayed recently. Karan Soni returns as taxi-driving Dopinder, Morena Baccarin is the love of Deadpool's life, Brianna Hildebrand still isn't allowed to smile much as Negasonic Teenage Warhead, and T. J. Miller manages to bag some of the better lines not being kept for Reynolds. Zazie Beetz is very enjoyable as a newcomer, Domino, with luck as her superpower, Eddie Marsan is enjoyably horrid, and there are some other people I won't mention because spoiler-free is the way to be.

You get the witty dialogue, another lively soundtrack, and some excellent action set-pieces, but it's interesting that Deadpool 2 falters when it slows things right down and attempts to show some proper emotional depth. It's interesting because it doesn't need to do that. There are some moments that work, judged perfectly between the comedic and the dark and the potentially cheesy, and some that really don't (the finale features a couple of them), but the fact is that the movie was doing a bloody good job before it started to show just how hard it was trying. Throughout most of the runtime, Deadpool 2 is an interesting look at personal responsibility and consequences, whether the actions are good or bad. It looks at cycles of violence and how the abused may damage themselves as they set out to damage their abusers, and there are times when it effortlessly does this better than any of the other superhero movies we have had over the past couple of decades (with the exception of Logan perhaps, ironically enough). But it doesn't do it in a way that interferes with the action or comedy . . . unlike some of the other emotional beats that are crammed in there.

Deadpool 2 - go along for the laughs, stay for the sheer entertainment, and leave while thinking about what they managed to slide inside you while you weren't even noticing (oo-er). Things may not feel as fresh this time around, inevitably, and there's a lack of REAL villainy, but I'm already looking forward to a third film. And everyone should try to see this one before some idiot blurts out some of the best gags.

Can you guess my rating?

7/10

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