Film Review – The Death of Robin Hood (2026)

      **The Death of Robin Hood, 2026**

      **Written and Directed by Michael Sarnoski**

      **Starring Hugh Jackman, Jodie Comer, Bill Skarsgård, Murray Bartlett, Noah Jupe, Jade Croot, Faith Delaney, Tabitha Smyth, Beau Thompson, Alfie Lawless, and Asher de Silva**

      **SYNOPSIS:**

      Confronted by his tumultuous past after a life filled with crime and murder, Robin Hood finds himself severely wounded following a conflict he presumed would be his final one. In a moment of desperation, a mysterious woman offers him a chance at redemption.

      The Robin Hood mythos carries a certain nobility (which has inspired both family-oriented animated adaptations and mature interpretations) since the outlaw’s thievery and violence aimed to redistribute wealth from the affluent to the impoverished, so to speak. In writer/director Michael Sarnoski’s exploration of that legacy, **The Death of Robin Hood** presents an aged, weatherworn, and untidy Robin (Hugh Jackman, who has become adept at portraying such weary and damaged figures with a blend of fury and subtlety), revealing that he seemingly never possessed heroic or even ethical motives. Rather, he emerges as a maniac driven by bloodlust, relishing the destruction of corrupt kings and empires, primarily focused on surviving in the wilderness alongside his apprentice, Little John (Bill Skarsgård). Any good resulting from his actions appears to be purely accidental.

      The first third of **The Death of Robin Hood** is notably brutal, delivering perhaps the most gritty portrayal of the character to date. One of the many repercussions of decades of violence is the creation of generational enmity; the film opens with a vengeful woman seeking to ambush Robin and kill him. It’s safe to say her demise is swift and graphic, indicating that he remains desensitized to violence and shows little willingness to change or let his guard down. At times, this initial segment evokes comparisons to Kratos from **God of War**, but if he were, well, Robin Hood.

      Little John, meanwhile, has a wife and a daughter (both curiously named Margaret, which complicates certain plot points), but finds himself embroiled in a perilous situation with enemies aiming to threaten his family. He dreams of settling down on a farm for a fresh start, though that may not be achievable. Robin certainly doubts his own chances for a second chance at life. As the story progresses, the violence escalates into mass casualties while Robin tries to give Little John an escape from their life of banditry. Without revealing who survives, it is evident that a severely injured Robin is taken to a priory managed by Sister Brigid (Jodie Comer), who assists in his recovery, though he still visibly struggles with his injuries.

      It's worth noting that this is where director Michael Sarnoski's distinctive style becomes apparent (similar to his remarkable work in **Pig** featuring Nicolas Cage), as **The Death of Robin Hood** shifts into a quieter, more introspective exploration of unresolved issues, second chances, cosmic balance, and whether it’s possible to find inner and outer peace after a lifetime of bloodshed, alongside an examination of this unconventional portrayal of Robin Hood. People recount tales based on the more traditional belief that he stole on behalf of the less fortunate, yet he vehemently denies this narrative whenever confronted. Conversely, there are those who view him solely as a violent madman throughout his life. This latter characterization seems to prevail in the film's world, prompting Robin to adopt the alias Randall in an attempt to shield himself and avoid trouble at the priory.

      Regardless of Little John's fate (which I won’t disclose), Little Margaret (Faith Delaney) also arrives at the priory and needs care. Additionally, a one-eyed young man (Noah Jupe) appears, seeking vengeance for events that occurred earlier in the story. A leper (Murray Bartlett) also provides Robin with guidance about the local fruit and maintenance of the priory, which theoretically could offer him a permanent reprieve from the violence he is entangled with. The characters in the priory might be the last link keeping him bound to chaos, or perhaps the ruse isn’t fooling anyone and some recognize his true identity. Ultimately, the question remains whether this situation will spiral into violence or if it serves merely as a lull before an anticipated storm.

      With striking cinematography (by Pat Scola) captured on film, portraying tranquil settings with natural lighting, along with convincing costumes and a unique look for Robin Hood (who resembles Geralt from **The Witcher** series), it is evident that this film is beautifully crafted. Occasionally, the medieval score (by Jim Ghedi) intersperses folkloric tunes that enhance the immersion into the 13th-century backdrop. One gets the impression that after