With just three films, Michael Sarnoski has pretty much cemented his themes and motifs that he likes to explore. Across “Pig,” “A Quiet Place: Day One,” and now “The Death of Robin Hood,” the writer/director delves into how we wrestle with legacy, death, interconnectedness, and violent tragedy. What’s interesting is that these are not strictly elegiac movies but instead interrogate the past and the stories that are told while grappling with what it all means in the present. “The Death of Robin Hood” is the weakest of his cinematic offerings so far, but that’s not to suggest it’s bad. There’s lots to love and cheer for in Sarnoski’s latest, it’s just that its overly familiar tale and oddly muted restraint rob the film of the power and immediacy of his previous works. It’s worth seeing, it’s just never hits the heights of what’s come before…which is kind of fitting given the subject matter.
Robin Hood (Hugh Jackman) is an old man now, living a hermit’s life in the woods while the myths of his exploits continue to fill the land. Unfortunately, those stories are far disconnected from reality and he wasn’t so much a folk hero as he was just a bloodthirsty outlaw that savagely laid out those he encountered. But it’s that true legacy that leads to Robin still being hunted by the descendants of those he slain, even in his elderly solitude. When Little John (Bill Skarsgård) seeks out his old friend for help in a fight, things quickly escalate and the cycle of violence begins anew, leaving Robin horribly wounded. John brings Robin to a priory on an island where Sister Brigid (Jodie Comer) tends to the broken old man, but new arrivals on the island threaten the small peace that Robin has found at the end of his days.
This is not unexplored territory. If you’ve seen “Shane,” “Unforgiven,” “Vengeance” (2009), or “Logan” (amongst many others), then a lot of these beats will seem familiar. Although Sarnoski does throw curveballs into the usual narrative of the “old violent warrior in his waning days,” and it still feels mostly fresh thanks to his great dialogue and Pat Scola’s beautiful cinematography, it’s hard not to be reminded of these other works that look at the karmic retribution of the gunslinger that’s lived beyond his prime. “The Death of Robin Hood” doesn’t reinvent anything, but it does still do a solid job of telling that known story (and even defying some expectations throughout) and is an engaging tale of someone’s last days.
Jackman plays “haunted” well, and his Robin Hood is a great mix of someone plagued by memories but also callused over from all his terrible acts. It’s not an inconsistent performance but rather a complex characterization of someone that is proficient in violence still wrestling with what that makes them. He knows he’s a monster, but he also knows there’s humanity still within him. But what truly grates him the most is those tall tales of Robin Hood and his Merry Men—the idea that he is deserving of anything other than scorn and damnation is clearly another shadow that hangs large over him in his advancing years. Comer is a great foil to this, someone marked by an early tragedy that uses it to fuel a life of good deeds and selflessness. Her gentle nature never comes off as naivete or weakness, but instead a quiet strength that manages to lift up so many around her. Yet “The Death of Robin Hood” is also quick to point out that everyone has their limits. These are powerful lived-in performances that suggest true sadness and humanity beneath what could be easily caricatured stereotypes.
But even with those great performances and excellent touches throughout, “The Death of Robin Hood” still feels a bit lackadaisical and lacks the punch of either “Pig” or “A Quiet Place: Day One.” Those felt like bold reinventions told quietly that had the audience lean in to hear every word and note. This feels overly familiar and unfortunately a little too lacking in energy at parts. It goes through motions we’ve come to expect from these types of stories, and even if they are done well, there’s not a lot of new insight or power to be gleaned from having them repeat again.
“The Death of Robin Hood” is certainly a well-made film. There are echoes of “The Northman” and “The Green Knight” in its aesthetics, action, and atmosphere. But the echoes of the similar story (told better in some cases) occasionally drown out the good work being done throughout. Sarnoski remains a filmmaker to be watched, his work continues to be unique in many ways, and his repeated motifs are deserving of attention and support. But this is a bit of a stumble into well-worn territory that doesn’t turn up enough new elements to engage as much as his previous efforts.
3.5 / 5 Stars
Directed by: Michael Sarnoski
Starring: Hugh Jackman, Jodie Comer, Bill Skarsgård, Faith Delaney, Noah Jupe, Murray Bartlett
