Robin Hood has been a tough character to sell on the big screen for some reason in recent years. Perhaps because there have been so many adaptations, and most, but not all, of them present largely the same version, the dashing, adventuresome antihero who robs from the rich and gives to the poor. You won’t find anything like that in Michael Sarnoski’s poetic, somber The Death of Robin Hood, which stars Hugh Jackman as a version of the outlaw who is haunted by the acts of violence in his past. Acts of violence that were rarely in the service of doing good.
The film is loosely based on the 17th-century ballad, Robin Hood’s Death. Aspects of that story remain, including the mysterious prioress, in the film played by Jodie Comer; the presence of Robin’s longtime confidante Little John, played by Bill Skarsgard; and the copious bloodletting meant to cure the ailing, aging outlaw.
In The Death of Robin Hood, Jackman plays him as a man who shuns the fairy tales and myth-making about his supposed heroic exploits. This Robin is a stone-cold killer, and he’s relentless against anyone who stands in his way. It’s a fascinating take on the character, depicting him as barely a notch above a serial killer who murders for sport. But at the same time, Sarnoski’s script, and Jackman’s sincere performance suggest a man who lives in the gray areas. Vicious, yes, but fundamentally not an outright evil person. Instead, he’s someone who has been killing for so long that he no longer recognizes a life without bloodshed.
It’s a great role for Jackman at this stage of his career. If this were ten or twenty years ago, a younger Jackman would’ve played the swashbuckling version of the character in a forgettable movie. He brings real gravitas and the kind of wisened performance that only comes with a bit of wear on the tires. When called to action, Jackman shows he hasn’t lost a step, but he’s just as effective in the quieter second half of the story. He’s not alone, as the entire cast is strong. Comer is also terrific as the kindly prioress, Sister Brigid, who has turned her life around after a traumatic event. Skarsgard is haunting as the most vicious version of Little John you’ll likely see. He’s killed so many people he can’t even keep track of them all. A real standout is The White Lotus star Murray Bartlett as an enigmatic leper whose life isn’t so different from Robin’s, and the two strike an unlikely friendship because of it. Faith Delaney as Little Margaret, a young girl that Robin takes under his wing, and Noah Jupe as Arthur, a young man he has a dark connection to, give the film a dash of youthful energy that it needs.
Sarnoski has impressed with his two previous films, the acclaimed Nic Cage drama Pig, and his big studio debut, A Quiet Place: Day One. Like those films, The Death of Robin Hood moves at its own pace, and carries a solemn tone. For that reason, I found myself wondering who this movie will appeal to. The very thing that makes this film compelling and unique might also be what keeps audiences away. My hope is that A24 has a quiet hit on its hands, an unexpected success that breaks through the glut of summer blockbusters. More likely, The Death of Robin Hood will be a respected prestige drama and a special entry in the infamous folk hero’s canon.
The Death of Robin Hood is in theaters now.
