The Death of Robin Hood: A Meandering Mess of a Legendary Tale (Early Review)

Michael Sarnoski’s follow-up to ‘A Quiet Place: Day One‘ yields a renewal to his character-driven storytelling shown in his feature directorial debut ‘Pig,’ while still containing the thrilling, visual appeal acquired from overseeing a franchise installment to adapt this Robin Hood story. Inspired by the ballad of Robin Hood’s Death, The Death of Robin Hood, Sarnoski’s dark adaptation provides a gritty, gloomy glance at the final days of Robin Hood (Jackman). Through legendary tales and violent battles, Robin must come to terms with his past after a near-death encounter lands him at a priory to recover.

Sarnoski immediately establishes this dreary 13th-century setting through the astonishing Northern Ireland landscape that is beautifully shot by Pat Scola, presenting the harsh climate that allows Robin to disappear into the night to survive. Joined by companion Little John (Skarsgård), Robin’s journey is quickly halted by persistent townsfolk on the hunt for vengeance and to take down the legend for themselves. Complimenting this gloomy landscape are the brutal fights that Robin encounters in the first act, with Sarnoski showcasing the tiresome tactics behind an aged Robin Hood trying to get the last blow. Jim Ghedi’s score, namely, enhances the agonizing pain behind these broken men sluggishly beating each other to death. While Sarnoski commences this tale with a grim take, this makes it evident to audiences that Robin Hood is no longer the legend that he once was.

When these fights take a toll on Robin’s body, he ends up at an island priory, aided by Sister Brigid (Comer), who tends to his wounds. Through this transition, Sarnoski pivots towards a character-focused story that highlights Robin’s existential behaviour, including his struggle for purpose, his reflection on the lives he has taken, and the generational trauma that plagues his victims’ families. With figures from his past coming back to haunt him as well, the emphasis on the philosophical impact of Robin’s wrath is apparent. However, several of these compelling topics that would be considered ripe for a fresh take on the famous ballad are sparsely utilized as Robin’s journey of self-reflection becomes a meandering path of confusion as every day he wanders the island struggling to heal his broken body.

When Little John’s daughter, Margaret (Faith Delaney), arrives at the priory is where Robin’s internal crisis marginally evolves, as he seeks a balance between his inner turmoil and protecting her from the dangers out in the world. Regardless of Sarnoski’s inconsistent efforts in keeping these existential issues compelling throughout the film, Jackman fits comfortably in expressing the complicated emotions of a fallen legend, having already fulfilled this task in ‘Logan.’ However, by no means are both roles incredibly similar, as Jackman powerfully convinces us to revel in his deliverance of Robin Hood’s wisdom, grace, and nobility that one would expect from a legend in his final days. Comer and Murray Bartlett, the latter playing a character known as The Leper, notably, stand out as both: figures that help guide Robin through his anguish, and serve as reminders of his consequential past.

Overall, Sarnoski’s The Death of Robin Hood is, conceptually, a compelling new approach to the mythical ballad. However, his return to a character-driven story following his installment in the ‘Quiet Place’ franchise is a wandering mess that is unable to elaborate on the existential crises faced with a legendary figure’s final days. Jackman easily fits into the portrayal of Robin Hood’s emotional sophistications, having already completed such a specific task in ‘Logan.’ Despite some well-crafted, brutal fights to spark engagement in the first act, it isn’t sufficient for audiences to stay interested in this meandering tale.

still courtesy of Elevation Pictures

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Costa Christoulas

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