“The Death of Robin Hood” follows Robin, who is offered a chance at salvation after finding himself gravely injured in a battle he thought would be his last.
If you couldn’t guess from the title, Robin Hood isn’t the protagonist of this story. While the classic tale presents him as a “heroic outlaw,” writer-director Michael Sarnoski portrays him as anything but in “The Death of Robin Hood.” It’s a brutal, gritty rendition of the character that shifts its aim throughout the course of the 123-minute runtime.
The first third of the film cements Robin as a pure “villain.” He thinks of no one but himself. He terrorizes innocent people. He’s ruthless in his killings. Early on, Sarnoski makes no attempts to soften this status; he’s a truly despicable individual with no redeeming qualities. Because of this, the initial stages are particularly fascinating. There comes a certain point where it clearly shifts into an “antihero” direction, however. It’s still different from similar genre entries, being less straightforward and more contemplative for the audience itself. Viewers will have to decide whether they are willing to buy into the redemption of a “monster,” or if they think there is no humanity left within.
The turning point between these directions is a pivotal one in “The Death of Robin Hood.” After 30 minutes of bloodshed, the intensity instantly lessens, and the film transforms into a slow-burn character study. This alone has the potential to make or break the film for many — and the same can be said for me. Unfortunately, this is the most intriguing moment of reflection that it has to offer. As Robin screams “No!” after not being killed, you can see exactly where the movie is heading. And it never manages to surprise over the next 90 minutes. Instead, it meanders through repeating plot points to reach the same outcome.
Despite the cyclical nature of the film, its messaging remains impactful. After committing mistakes, redemption always comes at a cost. Whether you’ve slain countless people (like Robin Hood) or committed a petty crime, consequences follow; it takes time for the scars associated with them to heal.
Much like other A24 releases, what the movie does have going for it is the visuals. Director of photography Pat Scola has a vast environment to work with through the Irish landscapes. It features the “moody” aesthetic you would expect: dark skies, fog-covered terrain, heavy smoke and burning fires. All of these elements are used to add natural depth to what could be “boring” sequences. Even as the pacing falters, the imagery alone keeps scenes engaging.
Jackman (Robin) delivers a memorable performance. It’s similar to his work in “Logan” — exhausted and quiet, but also expressive. While he lets his physical delivery carry the weight throughout most of the movie, Jackman cements the performance as one of his best with a long-winded monologue near the end. Also appearing are Jodie Comer (Sister Brigid), Bill Skarsgård (Edward), Murray Bartlett (The Leper), Noah Jupe (Arthur/Godwyn) and Faith Delaney (Little Margaret).
No matter how suffocating “The Death of Robin Hood” sometimes feels, it’s undoubtedly bold. Shifting a romanticized legend into a cruel fable is inherently risky, and while this doesn’t always pay off, it at least creates rumination.
“The Death of Robin Hood” asks for too much forgiveness from viewers. Not only for the titular character himself, but also the plodding pacing and monotonous messaging.
Rating: 2.5 out of 5
