Robin Hood

It seems the fascination with the leader of the men in Lincoln Green is one that Hollywood will never shake and this new Russell Crowe incarnation is a mixed swag bag which gives to the audience just as much as it takes away from the legend.

Another decade, another Robin Hood. However, this is an origin tale, we first meet Robin Longstride as an archer in the decimated army of Richard The Lionheart (Danny Huston, garnering only slightly more screen time and lines as he had in the recent Clash Of The Titans remake) that is coming to the end of their leader's crusade in France. In their last huzzah, Richard is mortally wounded and the bearer of the crown (Sir Robert Loxley) is ambushed by the erstwhile Godfrey (the ubiquitous Mark Strong) who is intent on causing a further rift as the incumbent playboy King John (Oscar Isaac, promoted from Scott's Body Of Lies and channeling part Rufus Sewell and part Derren Brown) takes the throne.

Meanwhile, back at home Marion Loxley, now widow of the deceased Sir Robert is besieged by teenage hoodies (seriously) that plunder her grain and steal her livestock. As Robin returns and assumes the mantle of Loxley, Marion is forced into a Martin Guerre-type arranged marriage by her blind father (Max Von Sydow) who is happy for Robin to usurp his son's position if it will keep the King's taxman off his back. Early suggestions mooted Robin being a true anti-hero to the Sheriff of Nottingham's valiance, or even (shudder to think), Crowe playing both roles. Instead Matthew Macfadyen is a relatively anonymous Sheriff who is cowardly and unable to control his serfs.

There are undoubted high points: the final act is superb and vintage Ridley Scott, with a French sea attack being met with force upon the beaches played out like Saving Private Ryan. Were some of this action spread evenly throughout the (overlong) film there would be considerably less fidgeting from an audience that is left between two stools. The historical hectoring and power plays will hardly play well with the multiplex crowds, who will similarly be starved of meaningful action until the very final reel (which also features the best parts of the trailer).

The questionable ballads played by Allan A'Dayle however are positively contemporary and whilst co-producer Crowe's Hood is an opportunistic chancer with a wobbly accent (allegedly an authentic Barnsdale!), the Australian ably exceeds the two most significant recent Loxley's that were American (Costner) and Irish (BBC's Jonas Armstrong) respectively.

Cate Blanchett makes for a solid, stoic Marion (at times the film’s closest counterpoint is Shekhar Kapur’s Elizabeth), but the script is the true villain. Brian Helgeland can certainly adapt a good yarn (L.A Confidential, Green Zone), but unfettered his musings are full of platitudes ("Every Englishman's home is his castle!", "Cometh the hour, cometh the man!"). The direction however is surprising in that it is nigh on anonymous and the story’s imbalance too forced to recommend highly.



Released in UK cinemas on 12th May 2010 by Universal Pictures and Imagine Entertainment.

Reviewed by Simon Cole.