Robin Hood

It's nice to see a film on the screen where bytes are not being smashed against each other, but where a massive ensemble is pushing conquering battering rams and stuntmen in fireproof suits are falling from the walls. The trailer was off-putting, while Ridley’s name was carrying it. I don't regret the money in favor of honest filmmaking, which compromises on ratings and, in the second half, on the tolerability of the runtime (I will, like many, be looking out for the DVD with the extended bloodier version), but otherwise entertains with well-written and acted characters that you fully believe in. Crowe’s pathetic charisma drips throughout, while the rest of the gang spit out dry catchphrases and Cate Blanchett is breathtaking. That's what makes even the romantic storyline pleasant and spirited. In a way, it's nothing we haven't seen from Ridley before, but his paintings have always had eyes boring into them, and Robin Hood isn't going to change that. (06/01/2010)

I'm delivering on what I promised, and after watching the director's cut DVD version, I'm adding a fifth star to the four strong movie theatre stars. And I like adding that last star. Ridley Scott is a whiz at this kind of film and in Robin Hood he once again shows very solid craftsmanship, which together with Gladiator and Kingdom of Heaven makes a fantastic historical triptych. It's hard to know what to praise first. A script that isn't afraid to look at the legend from a completely different angle? The direction, visuals, music and elaborate costumes and props (see the bonus features on the DVD)? The great pairing of Crowe and Blanchett, with a nice spark between them (saving the ram)? The slimy Mark Strong, the dignified Max von Sydow, the bearded William Hurt, the unrecognizably masked Danny Huston? I really don't know and that's why I applaud everybody. Robin Hood is definitely a good film, worth two and a half hours of your time.__P.S. The way Scott quotes Private Ryan at the end really amused me.__P.P.S. The only flaw is that I expected the director's version to be at least half an hour longer. (09/19/2010)

One might say that Robin Hood has some entertainment value as well as nice locations and a great cast (especially the super villain played by Mark Strong). But it is hard to accept it as the fruit of another collaboration between Ridley Scott and Russell Crowe, from which we are accustomed to mature films with a strong directorial touch that are ambitious in terms of quality. Because Robin Hood is (at least in this cinematic version) just a straightforward, ideologically naïve summer flick without a pinch of originality, stealing from all sorts of other sources. Once again, Crowe touches the burned ground lethargically or strolls through a cornfield, but this time the viewer cannot feel anything. I don’t like slacking off and an impersonal, routine approach to filmmaking, especially from filmmakers for whom movies are usually everything and who know that the world expects something more from them... (05/10/2010)

He promised us the story of the Duke of Nottingham, then a dual role for Russell, and finally reminded us of Gladiator through the trailers. And there Ridley Scott luckily remained. Robin Hood is indeed about a rebellion, but it is not a pathetic epic about noble heroes' victory. It is a cautiously romantic memory, but not a fairytale about Robin and Lady Marion. But most importantly, it is the story of a few righteous men and the rough birth of a legend. (05/14/2010)

I'm trying to find adequate words for this repulsive and bloated screenwriting conglomerate, brought to total impotence by Ridley Scott's trembling hand. I am struck by words such as despair, embarrassment, lack of criticism, anachronism and ideological naivety bordering on simplicity. It can be roughly summarized as follows: Robin Hood was caught in the woods and sodomized with a loud reading of Marx's Capital. What was quite cute in Kingdom of Heaven is offensive and boring in this film. Only Max von Sydow stands out from the weak attempts at heroism. In a single scene, Max demonstrates what the rest of the film is hunting for in vain in the soulless theft from Shakespeare, The Lord of the Rings and about five thousand other films. One star out of sheer disrespect for Scott, who should either get bigger scissors, or leave history alone. It’s already taken a decent beating from him. (05/10/2010)