Many will go into The Death of Robin Hood expecting a blood-soaked action picture. That’s what they’ll get… for the first half-hour. The rest of the film is a more intimate portrait of a man in the late stages of his life, confronting the sins of his past and contemplating whether redemption is in the cards for him. It’s effective, although the tonal shift and slower pacing may put some off. What holds our attention is Pat Scola’s atmospheric cinematography and a commanding lead performance from Hugh Jackman, who turns in his grittiest performance since Logan. In fact, there are a few parallels to that film.
Like Logan, Jackman’s Robin Hood is a grizzled old man who nonetheless shouldn’t be underestimated in a brawl. He’s surviving, although Robin stopped living long ago. Also, like Logan, Robin is eventually paired with a young girl. In this case, the daughter of Bill Skarsgård’s Little John, Margaret (Faith Delaney). Where Wolverine cemented his legacy as a hero, though, the same can’t be said about Robin. This isn’t Errol Flynn swinging in on a vine or a humanoid fox skipping through the forest with a bear. Ironically, Jackson probably could’ve played a charming Robin in the spirit of those versions, but this film is called The Death of Robin Hood for more than one reason.
I won’t spoil whether or not the movie ultimately ends with Robin’s death. What I will say is that the film is more about killing the Robin Hood legend. The Death of Robin Hood wisely doesn’t show us the titular character’s past in flashbacks, leaving it somewhat vague. Based on how many people want vengeance against Robin, though, he must’ve ended more lives than he saved. In pop culture, Robin Hood is known for robbing from the rich and giving to the poor. At one point in the film, Robin suggests that he killed bad people and gave to the meek, although he’s more than likely lying. Even if there’s a grain of truth to his story, this Robin was driven mainly by greed, using the legend to attract more cutthroat bandits.
Robin has nothing to show for his years of robbing and killing, scraping by in the wilderness with little reason to keep going. Yet, when a stranger arrives seeking revenge, Robin won’t let them get the upper hand. Robin is given little purpose until an injury leaves him in the care of Sister Brigid, played by the always charismatic Jodie Comer. Forming a surrogate family of sorts with Brigid and Margaret, Robin begins to find hope, possibly for the first time in his life. Blood remains on Robin’s hands, however. Even if he dies, the cycle of violence may continue, with those he leaves behind being targeted.
Director Michael Sarnoski previously made 2021’s Pig and A Quiet Place: Day One. As different as those might have been in terms of scale, all of Sarnoski’s films seem to center on loners searching for something simple that will bring them comfort during dire periods. For Nicolas Cage, it’s his beloved pig. For Lupita Nyong’o, it’s a slice of pizza. Jackman’s Robin isn’t sure what will bring him comfort. Yet, he finds it in an unexpected place. Robin knows that he can’t undo the heartbreak and suffering that he’s caused. If the violence can finally die with him, though, he’ll exit this world more peacefully than anticipated.