This story includes spoilers for “Masters of the Universe.”

He-Man has made his way back to the big screen thanks to the power of Grayskull — and Hollywood’s love of nostalgia.

Now in theaters, “Masters of the Universe” stars Nicholas Galitzine as Eternia’s long-lost Prince Adam. Working a menial HR job after getting stranded on Earth as a child, Adam “(he/him)” dreams of reuniting with his Sword of Power in order to make his way back home.

Spoiler: He does (with a little help from his friends).

Helmed by “Bumblebee” and “Kubo and the Two Strings” director Travis Knight, the movie is “a dopey, friendly comedy about modern masculinity in crisis with a He-Man who openly wonders what kind of a man to be,” according to a review by Times film critic Amy Nicholson.

Much like the first live-action film around the popular 1980s toyline, the new “Masters of the Universe” features a couple of post-credits scenes that tease what could come in the franchise’s future. But for now, fans will have to wait to learn whether a sequel is forthcoming.

Yes, Orko is in the He-Man movie

Fans of the He-Man franchise can rejoice because everyone’s favorite floating wizard (and court jester) does make an appearance after the main “Masters of the Universe” story ends. In a nod to the animated Filmation series in which the character originated, Orko appears in a brief stinger after the conclusion of the film in order to share what lessons audiences could learn from the story they just watched.

The mid-credits scene introduces a familiar hero

The most significant of the bonus scenes comes in the middle of the credits. The scene opens with Prince Adam’s mother, Queen Marlena (Charlotte Riley), sharing a moment with Duncan (Idris Elba).

After the queen mentions she had given up hope for reuniting with “both of them,” Man-At-Arms replies “perhaps one day she’ll come back to us too.”

The scene then cuts to the “she” in question, wearing a red cape and holding a familiar sword.

“Force Captain… Adora?” calls out a voice.

“No, not anymore,” she replies.

Those familiar with the lore of the “Masters of the Universe” franchise will recognize that the mysterious woman is Adam’s long-lost twin sister, Adora. The most common backstory is that Adora was kidnapped by Hordak as an infant and raised on the planet Etheria as a member of his Evil Horde. She eventually learns the truth about her heritage and defects to fight for good.

The Sword of Protection gives her the power to transform into the hero She-Ra.

Is that the last post-credits scene?

Nope. The final stinger shown after the credits are done rolling involves Evil-Lyn (Alison Brie) and Skeletor (Jared Leto). It appears He-Man has not seen the last of his nemesis — as long as a sequel is greenlit.

Supergirl reviews are almost ready to be released, as viewers wait for the results. Directed by Craig Gillespie and written by Ana Nogueira, Supergirl will be DC Studios’ second theatrical release after kicking the franchise off last summer with Superman. After that movie earned largely positive reviews from critics, the question is whether the DCU’s next big-screen release can match that hype.

As revealed by @EmbargoLiftsFor on X, the review embargo for DC Studios’ Supergirl will lift on Wednesday, June 24. This comes only two days before Milly Alcock’s solo movie for Kara Zor-El is released in theaters worldwide on Friday, June 26. 

The review embargo being lifted only two days before the movie’s release could be seen as a concern, as this usually happens when studios lack confidence in a movie’s success. Reportedly budgeting over $200 million, Supergirl has work to do to become a financial success for Warner Bros., even with plenty to look forward to in the titular character’s first big-screen appearance in well over 40 years.

Ahead is what fans can potentially expect from those reviews, based on what has been reported in rumors and from test screenings for Supergirl.

Early Teases for Supergirl Critic Reviews & Reactions

Milly Alcock Shines as Supergirl

According to @Cryptic4kQual, after test screenings, Milly Alcock was “praised for her acting in the role” as the film’s leading star. This should help motivate fans to head to theaters to see Alcock as Kara Zor-El.

This film will give Alcock her second appearance in the DCU, following a short cameo at the end of 2025’s Superman, in which she arrived at the Fortress of Solitude to retrieve Krypto. Now, she will get her own adventure away from the Man of Steel, giving Alcock the chance to fully flesh out the role.

Jason Momoa Is Fun as Lobo

Following a long run in the former DCEU as Aquaman, Jason Momoa will join James Gunn’s DCU as Lobo, which he has described as his dream comic book role. While reports have gone back and forth about how big his role in the movie is, he appears to be a highlight.

As reported by @AxelTalksFilm, “Lobo has a substantial role in the film, and is crucial to the ending.” Other reports suggest he’s in 10-20% of the movie, but the time he spends on screen is sure to be memorable.

Shaky Visuals

One of the most notable critical talking points for any movie, especially modern superhero movies, is the visuals and VFX. For Supergirl, early rumors hint that this may not be the most positive talking point for the DCU’s second theatrical release.

Reported by BobaTalks on YouTube, the movie does not seem to use many of the exciting psychedelic visuals fans know from the Woman of Tomorrow source comic, even with unfinished VFX. While this could be adjusted before the film is released, it is certainly a point of concern from a visual perspective.

A Mixed Villain

After Lex Luthor served as the main villain in Superman, Supergirl will move on to another classic comic book villain, Krem of the Yellow Hills, played by Matthias Schoenaerts. While he is the same antagonist used in the original comic the movie is based on, the results of his inclusion are mixed.

@Cryptic4KQual called Krem “underwhelming” as a villain, while @AxelTalksFilm noted that he was “described as extremely ‘menacing’ and a tremendous villian.” Additionally, BobaTalks reported that Krem was “underdeveloped” and looked similar to the rest of his goons, sparking concern that he was fairly generic.

Balanced Tone

One major lingering question about the DCU is its tone, especially with new movies like Clayface introducing horror elements. With Supergirl set to come before that movie and after Superman, its tone will be another major talking point upon its release.

Reported by @AxeTalksFilm, the “cinematography is an upgrade” to what fans saw in Superman, including one specific scene in a hallway that can be compared “to the action sequences of those in Daredevil and Guardians 3.” Additionally, it is much “darker and [more] serious in tone” than Superman, suggesting a more grounded story behind Milly Alcock’s heroine.

Japanese filmmaker Chie Hayakawa isn’t afraid to look death in the eye. The writer-director’s 2022 feature debut, “Plan 75,” imagined an unsettling future in which the elderly are offered a subsidy by the government to be euthanized. For her follow-up, she travels into her own past, drawing from memories of her father’s battle with cancer.

But while “Renoir” features no sci-fi elements, the nearness of oblivion remains just as prominent. Shorn of sentimentality, this gentle drama follows a quietly observant fifth-grader who feels the grim shadow of mortality all around her. How the character will absorb that realization is anyone’s guess — including Hayakawa’s.

Newcomer Yui Suzuki stars as Fuki, who lives in a nondescript Tokyo suburb in 1987. Her soft-spoken dad, Keiji (Lily Franky), is suffering with terminal cancer in its final stages, the emaciated man spending as much time in the hospital as he does at home. Fuki’s mother, Utako (Hikari Ishida), doesn’t seem very despondent, though: One senses an emotional exhaustion that comes from preparing so long for the inevitable that she’s now mostly numb, her anticipatory grief having given way to frayed nerves.

Fuki’s pre-mourning process is equally complicated. Outwardly, she shows no signs of being devastated by her dad’s imminent passing, happily playing with him, almost in denial of his fate. But “Renoir” subtly suggests the impressionable girl is more aware than she lets on, surrounding her with random reminders of death. Local news breathlessly reports on random domestic murders. Even when Fuki gets away from the city, the camera lingers on her watching a campfire’s dying embers. The film derives its title from the girl’s interest in “Little Irène,” a painting by influential French impressionist Pierre-Auguste Renoir. She asks if Renoir is still alive. No, he’s dead too.

Hayakawa pulls from her childhood in multiple ways for her sophomore feature, which premiered in competition at Cannes last year. “Renoir” takes place in 1987 specifically because that’s the year she turned 11, and, like her protagonist, she was infatuated with “Little Irène.” But there’s a refreshing absence of nostalgia in Hayakawa’s conception of Fuki and her quizzical processing of her father’s fatal illness.

For school, Fuki writes an essay about her wish to be an orphan. She becomes obsessed with hypnotism and mind-reading, an unorthodox strategy to create a sense of control. And, occasionally, she wanders into daydreams that Hayakawa presents so matter-of-factly that viewers may sometimes be unsure if what they’re seeing is actually happening. In “Renoir,” Fuki’s flights of fancy are as naturalistic as her everyday life — a sharp reminder that, for children, imagination and reality are often indistinguishable.

If death has been integral to Hayakawa’s two features, it’s society’s callous reaction to aging that is her primary focus. “Plan 75” eschewed dystopian-thriller conventions to ponder how Japan might one day treat its senior citizens, viewing them as little more than a drain on resources. “Renoir” makes a similar point within a memory piece. Keiji is the one dying, but it’s telling that Hayakawa centers the story on Fuki and Utako, who each, in their own way, seem more concerned about their own personal dramas.

As Keiji’s situation grows more dire, Utako enters the orbit of Toru (Ayumu Nakajima), a workplace advisor with whom she’s instantly smitten, pondering pursuing him romantically. Ironically, Toru preaches the importance of good communication skills in the office, a lesson the film’s guarded family would be wise to heed. While Utako hides her feelings for Toru, Fuki begins a secret odyssey in which she impulsively joins a phone dating service, engaging in conversations with a creepy college student (Ryota Bando) who pushes her to meet in person. This potentially traumatic subplot is the closest “Renoir” gets to traditional suspense, but even here Hayakawa adopts a muted approach, sidestepping shock value for bittersweet commentary about young people’s confusion around love. Both Utako and Fuki chase after human connections fraught with danger, each trying to insulate themselves from the tragedy waiting at home.

“Renoir” may be a delicate wisp of a film, but it’s flecked with thoughtful questioning about whether childhood’s sorrows leave permanent scars on us as adults. Suzuki exudes the fragility and buoyancy of adolescence, playing Fuki as someone constantly imbibing the world, rarely revealing what she’s doing with that stimulus. The simplest moments resonate the strongest, such as when the moody 11-year-old holds a balloon over the balcony of her family’s high-rise apartment, casually releasing her grip so that it tumbles to the ground far below. Does it speak to a desire to jump herself? “Renoir” won’t say, but the character is so poised you feel confident she’ll survive her father’s death. Who knows: Maybe years from now, she’ll even make a touching, emotionally astute movie about it.