When soldier Robin happens upon the dying Robert of Loxley, he promises to return the man's sword to his family in Nottingham. There, he assumes Robert's identity; romances his widow, Marion; and draws the ire of the town's sheriff and King John's henchman, Godfrey.
Ridley Scott's grim, grounded reimagining divided critics sharply: detractors felt it stripped the legend of its fun and replaced it with muddy, joyless spectacle, while supporters saw a serious, muscular action film with confident craft. The central fault line was Russell Crowe's Robin — whether his dour intensity registered as compelling authority or as a charisma vacuum that dragged the whole enterprise down.
“His Robin, however, seems pathologically glum; even when leading a cavalry charge on a white steed, he cuts a lonesome figure, marooned in his own feuds and ruminations”
Anthony Lane·The New Yorker
“Scott and Crowe made a great movie out of Gladiator, tapping deep into the showbiz masculine bravura of ancient-world Hollywood spectaculars. In Robin Hood, Scott tries to go deep again, but in a misguided way—he thinks he's making a pop-medieval Saving Private Robin. The battles are grainy and "existential," but what they aren't is thrilling. They're surging crowd scenes with streams of arrows and flecks of blood, and Crowe, slashing his way through them, is a glorified extra. He's so grimly possessed with purpose that he's a bore, and so is the movie.”
Owen Gleiberman·Entertainment Weekly
“the problem with Russell Crowe's new take on the legend is that it has one muddy boot in history and the other in fantasy. The middling result is far from a bull's-eye.”
Joe Neumaier·New York Daily News
“Scott has great command of his action sequences”
Mick LaSalle·San Francisco Chronicle
Action, Adventure, Drama
When soldier Robin happens upon the dying Robert of Loxley, he promises to return the man's sword to his family in Nottingham. There, he assumes Robert's identity; romances his widow, Marion; and draws the ire of the town's sheriff and King John's henchman, Godfrey.
Ridley Scott's grim, grounded reimagining divided critics sharply: detractors felt it stripped the legend of its fun and replaced it with muddy, joyless spectacle, while supporters saw a serious, muscular action film with confident craft. The central fault line was Russell Crowe's Robin — whether his dour intensity registered as compelling authority or as a charisma vacuum that dragged the whole enterprise down.
“His Robin, however, seems pathologically glum; even when leading a cavalry charge on a white steed, he cuts a lonesome figure, marooned in his own feuds and ruminations”
Anthony Lane·The New Yorker
“Scott and Crowe made a great movie out of Gladiator, tapping deep into the showbiz masculine bravura of ancient-world Hollywood spectaculars. In Robin Hood, Scott tries to go deep again, but in a misguided way—he thinks he's making a pop-medieval Saving Private Robin. The battles are grainy and "existential," but what they aren't is thrilling. They're surging crowd scenes with streams of arrows and flecks of blood, and Crowe, slashing his way through them, is a glorified extra. He's so grimly possessed with purpose that he's a bore, and so is the movie.”
Owen Gleiberman·Entertainment Weekly
“the problem with Russell Crowe's new take on the legend is that it has one muddy boot in history and the other in fantasy. The middling result is far from a bull's-eye.”
Joe Neumaier·New York Daily News
“Scott has great command of his action sequences”
Mick LaSalle·San Francisco Chronicle
Action, Adventure, Drama