This review contains spoilers.
If I had a nickel for every time Hugh Jackman played an aged action hero who winds up taking care of a little girl on the run, I’d have two nickels, which isn’t a lot, but it’s definitely weird that it happened twice.
A24’s “The Death of Robin Hood,” directed by Michael Sarnoski, brings a reimagined version of the legend to the big screen, posing the question of whether Robin Hood was truly a good man. With a blend of ultra-violent fight sequences and melancholic self-reflection, the film ponders on what it means to heal from the sins of one’s past, as well as whether bad men deserve the opportunity to change for the better.
Jackman stars as an older Robin Hood grappling with the atrocities he committed in his younger years. After agreeing to help his friend Little John (Bill Skarsgård) rescue his wife and daughter from neighboring warlords, Robin Hood ends up gravely wounded. He awakens in a priory, where he is taken care of by Sister Brigid (Jodie Comer), a nun who offers him the chance at a fresh start.
Immediately, the opening act depicts Robin Hood as violent and merciless, someone who has killed countless people and intends to kill again. In a deviation from the folklore, the movie reveals that he did not steal from — and kill — the rich to give to the poor: rather, he killed out of his primal nature.
It is this backstory that makes his time at the priory so reflective and deeply soul-touching. On the secluded island where the monastery is located, no one knows that he is the sadistic bandit Robin Hood. Instead, he becomes a guiding figure and mentor to the small community there.
This character development is taken up a notch when Little John’s daughter, Little Margaret (Faith Delaney), finds her way to the priory after her father’s death. On the run from those who killed him, Margaret finds Robin Hood to be a father figure and protector. As time passes, Robin Hood realizes something inside him has shifted, and he is no longer the man he once was. However, his sins still torment him.
The film expertly demonstrates this with a change in pace, transitioning from the brutal action of the first act to a slow, more contemplative second half, backed by an achingly raw and ruminative soundtrack. In several shots, the natural light and framing deliver a strikingly beautiful look at the world around Robin Hood — one he could only appreciate after leaving his bloody past behind.
Jackman gives a performance backed by his experience playing similar roles before. This, combined with the top-tier costume design, creates a characterization of Robin Hood that feels real — someone who truly lives with his past decisions.
Though slightly predictable, Robin Hood’s redemption and foray into a life centered around love signifies the idea that those who have sinned can change for the better and that the stories which defined him were simply that — stories.
Despite not needing every second of its lengthy runtime, “The Death of Robin Hood” surprised me with its interpretation of the character, presenting a “Train Dreams”-esque meditation on legend, change and life.
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