Introduction
Sitting in the theater waiting for The Death of Robin Hood to begin, I found myself eavesdropping on a conversation taking place nearby. The people next to me were concerned that this version of Robin Hood would be just another modern reimagining of the character. Their discussion made me pause and think about the many adaptations of Robin Hood that have come and gone over the years.
There have been a few good recent takes. The current MGM+ series Robin Hood is a fairly traditional and well-executed version of the legend. The 1991 television film Robin Hood, starring Patrick Bergin and Uma Thurman, remains an underrated adaptation, and Robin of Sherwood (1984-1986), which aired on Showtime, is still one of the strongest interpretations of the character ever made.
Then there are the less successful versions. Ridley Scott’s 2010 Robin Hood, starring Russell Crowe, was a grim and joyless affair. Robin Hood, the 2018 adaptation with Taron Egerton and Jamie Foxx, was even worse. Moreover, for me, the worst of the bunch is 1991’s Robin Hood: Prince of Thieves, starring Kevin Costner and directed by Kevin Reynolds, who would later reunite for the truly painful experience that was Waterworld (1995).
So, where does The Death of Robin Hood fall? The answer is simple. It is one of the best Robin Hood films ever made. This is an original take on the legend, one that feels much closer to the reality behind the folklore. Legends are rarely as clean and noble as the stories that survive them, and writer-director Michael Sarnoski understands that.
Synopsis
Hugh Jackman stars as Robin, a grizzled old survivor who has somehow managed to outlive countless battles and hardships. Early in the film, a young woman approaches him at a campfire looking for food. She asks if he is safe and begins recounting the familiar tales of the heroic Robin Hood, who robbed from the rich and gave to the poor.
Robin quickly dismisses her assumptions. He tells her that he knew that man and that the stories are not entirely true. In that moment, Sarnoski establishes the film’s central theme. Robin is forced to confront his past, relive the mistakes he made, and determine whether any of his life was truly worthy of legend.
Discussion
Sarnoski hits a bullseye with this approach. The world of 1274 feels harsh, unforgiving, and authentic. The bleak Irish landscapes, muted color palette, and constant sense of decay create a vision of the Middle Ages that feels grounded rather than romanticized. There are no bright castles, heroic speeches, or picturesque countryside vistas. This is a cold and difficult world populated by similarly damaged people.
The supporting cast in The Death of Robin Hood is excellent. Jodie Comer brings warmth and humanity to Sister Brigid, while Bill Skarsgård delivers a memorable performance as Edward, better known as Little John. Murray Bartlett nearly steals the film entirely as a leper knight whose brief appearances leave a lasting impression.
As good as the supporting cast is, this film truly belongs to Hugh Jackman. The actor delivers what may be the finest performance of his career. This is the grittiest character Jackman has ever played. Compared to this version of Robin Hood, Wolverine feels downright friendly. Jackman’s Robin is a man worn down by violence, haunted by his choices, and disgusted by much of the life he has lived. Yet beneath the hardened exterior is a man searching for redemption.
As Robin spends time with Sister Brigid and later cares for Edward’s daughter, wonderfully played by Faith Delaney, he begins to recognize the lives he neglected and the damage he left behind. His growing understanding of those failures gives the film much of its emotional power. Jackman captures every ounce of regret, exhaustion, and eventual grace with remarkable skill.
Conclusion
Visually, The Death of Robin Hood is stunning in its darkness. Cinematographer Pat Scola creates images that are bleak yet beautiful, illuminating a world rarely depicted this honestly on screen. Together, Scola and Sarnoski craft a version of medieval life unlike any previously seen in a Robin Hood story. It feels less like a fantasy and more like a glimpse into a forgotten past.
I enjoyed films such as The Northman (2022), The Green Knight (2021), and The Last Duel (2021), but for me, The Death of Robin Hood surpasses them all. Those films are good. Sarnoski’s film is great. I hope audiences embrace this movie. Yes, it is dark. It is often brutal and relentlessly honest. But it is also beautifully acted, visually remarkable, and thoughtful in its examination of how legends are created and how they differ from reality. The Death of Robin Hood is not simply another Robin Hood adaptation. It’s a film worth watching.
