THE DEATH OF ROBIN HOOD

The Death of Robin Hood boasts excellent performances from the entire cast, notably Hugh Jackman who revels in the rage and reflection of this hardened version of Robin Hood, and while Michael Sarnoski writes the film with purpose and an undeniable emotional catharsis, the film’s somber tone and slow pacing counteracts the strong filmmaking talents on display.

A24 and Robin Hood. The mixing of one of the most legendary heroes to grace the screen and one of the most ambitious, arthouse independent studios should signify to viewers that The Death of Robin Hood is going to be a vast departure from previous iterations of the green tight wearing hero. Especially with writer and director Michael Saranoski behind the film, whose debut feature film Pig was a dark revenge thriller that was anything but mainstream. Therefore, the approach to Robin Hood that Sarnoski takes in The Death of Robin Hood should be no surprise, as he forgoes the typical blockbuster approach to the character and instead develops an intensity and meaningful character study that highlights an iteration of the character unlike anything audiences have seen before for Robin Hood. While the entire cast is excellent and give top notch performances throughout and from a technical standpoint the film is both a visual and audible sight to behold, Sarnoski’s quiet character study lacks a driving force that sadly renders his well made film a drawn out and eventless film.

Audiences are no stranger to the legend of Robin Hood: stealing from the rich and giving to the poor. Whether it be the Disney animated version or the Kevin Costner starring blockbuster, Robin Hood has always been the hero of the story, full of noble virtues and goodness. However, that is not the version of the character that Sarnoski is concerned with exploring in The Death of Robin Hood. His iteration of the character is a hardened and aged outlaw, deadly, dangerous and not the hero we have come to know on screen. It’s evident from the opening sequence which features Robin Hood brutally killing an assailant by stabbing them multiple times, including the fatal stab to the neck, and this continues throughout the film’s first act as a bloodthirsty and revenge driven version of this legendary hero is developed. Sarnoski kicks the film off with a horrifying iteration of the character, shattering all preconceived notions of Robin Hood with the audience and invigorates the film with a chilling intensity, and while it is no doubt going to shock viewers as the violence is explicit and almost painful to watch at times, it's necessary to create a rageful darkness within the character to allow Sarnoski’s journey for Robin Hood to pay off by the story’s conclusion.

Moving into the second act, there is a distinct tonal shift that delivers a far different film from what Sarnoski teased in the first act, which is where the film is going to divide viewers. As Robin Hood finds himself healing at the Priory, Sarnoski shifts to a more reflective character study as Robin reconciles his legendary status in folk lore with the blood on his hands from those who he has slain. Dealing with themes of revenge, legacy and bloodlust, it’s a purposeful intent that Sarnoski writes the remainder of the film with, forgoing the traditional action that normally accompanies Robin Hood on the big screen for an introspective drama, and he achieves what he sets out to do. Many of the film’s quieter moments carry an immense beauty that develops Robin’s reflection on his past and reconciliation with his dark deeds, such as the meaningful conversations with The Leper who sees Robin for who he truly is or the healing moments with Sister Brigid that captures a tranquility and peace that Robin had not truly experienced before, all working together to help Robin confront the hurt he has caused in his past and find a way to move forward and better the world he leaves behind. Combined a subplot involving a young girl that Robin trains in his archery ways, which is highly reminiscent of James Mangold’s Logan given the stage of life we find Robin Hood in, the emotional catharsis that Sarnoski builds towards is earned by the film’s final moments, resulting in a moving finale that puts both the legend and the character of Robin Hood to rest.

Given the cast that Sarnoski has assembled for his film, it comes as no surprise that the performances are noteworthy across the board. Jackman excels as this hardened version of Robin Hood, finding a tortured darkness full of rage and anger and balancing it with this man at the end of his life trying to make amends for his past. It is not dissimilar to what Jackman brought to Wolverine in Logan, but there is no denying that his portrayal of Robin Hood is outstanding from start to finish. Jodie Comer finds an instant, nurturing kindness to Sister Brigid that allows her to radiate warmth and have some beautiful moments of joy during the film, playing against the darker roles she is best known for. At the same time, she builds a mystery around Sister Brigid, leaving her character’s past and more spiritual activities shrouded in secrecy, giving Comer the ability to develop depth to Sister Brigid as the audience learns more about her. While unrecognizable under makeup and his costume, Murray Bartlett is outstanding as The Leper, sharing the best moments of the film with Jackman with their engaging discussions, acting as a compelling and wise voice that helps Robin come to terms with his deadly past actions. Noah Jupe is effective in his smaller role of Godwyn, the son of one of Robin Hood’s victims, grappling with the expectation of revenge and the darkness that consumed Robin himself, though it is young Faith Delaney who consistently steals the scene from Jackman as Little Margaret with her silent tenacity and spirited presence that lights up the screen.

Matching the narrative intent at every turn, the artistry on display in The Death of Robin Hood is impressive to say the least. Pat Scola’s cinematography is gorgeous, capturing a stillness in the natural beauty of Northern Ireland on 35mm that makes every frame of the film worthy of being woven into a tapestry. From the fire lit fight in the first act that has an epic visual scale with its single source of light, to the rooms of the Priory full of warm natural light, Scola’s eye delivers a staggering visual experience worthy of the legend of Robin Hood. Jim Ghedi’s musical score does a great job of blending song, paying homage to the tales of Robin Hood and how they would have been sung at the time, an intensity that captures the brute force of the first act, and a lush harmony that helps bring to life Robin’s soul searching in the film’s later acts. Costuming and make up is on point throughout the film, helping to build the historic ambience of the film alongside the on locations of Northern Ireland and set design for the Priory, allowing Sarnoski’s story to fully come to life on screen.

There is no denying that Sarnoski achieves his goal in The Death of Robin Hood, and you can’t criticize him for failing to properly tell the story. The issue with the film lies in the fact that it’s not a practically engaging film. With an almost two hour runtime, and very few notable events that happen in the second and third act, it results in the pacing to inch along at a snail’s pace and the intent of the character study to get lost. Apart from Robin Hood himself, the supporting characters never get enough meaningful screentime to develop their arcs, while the silent reflection of Robin Hood extends too long and has the unfortunate side effect of converting the tender character study into at times boring exploration of the character. Had the runtime been significantly shorter than two hours, progressing Robin Hood’s reconciliation and healing of his soul, or featured a more eventful screenplay with significant, there is a great film waiting to break free, but as it is presented, The Death of Robin Hood is portrayed in too somber of a manner to fully connect with viewers.

Artistically rich and daring in the portrayal of Robin Hood that the film presents, there is no denying that Michael Sarnoski’s latest film is without merit and great potential. From the captivating performance of Hugh Jackman as Robin Hood, the gorgeous cinematography, and the unique approach to the character, The Death of Robin Hood has the right elements for an enticing portrayal of one of cinema’s most famous outlaws. Though sadly, the film’s incredibly somber and slow pacing halts too much of Michael Sarnoski’s vision, failing to develop a more engaging narrative that better utilizes the great performances of the entire cast, unfortunately rendering The Death of Robin Hood another big screen adaptation of the famed hero that fails to do him true justice.