written by: Michael Sarnoski
produced by: Aaron Ryder, Andrew Scott, Alexander Black, and Hugh Jackman
directed by: Michael Sarnoski
rated: R (for strong bloody violence) 
runtime: 122 min.
U.S. release date: June 19, 2026

Let’s be real. An ultra-violent Robin Hood movie, in which the character is unrecognizable, and the story resembles nothing associated with the title character, would never do well during the summer movie season. This is more of a fall arthouse release. It’s mind-boggling what A24 was thinking dropping this dirge-like iteration of the famous character depicted as an aging outlaw, hoping to fade away into nothingness. It’s a dark re-imagining of Robin Hood that no moviegoer will expect out of  “A New Hugh Jackman Movie”, which may be a good thing artistically for the actor and writer/director Michael Sarnoski (“Pig” and “A Quiet Place: Day One”), but it doesn’t bode well for the studio.

I had to watch the movie twice to fully take it in. During the first viewing, the pacing dragged, and most of it was dimly lit, plus the majority of the dialogue was incomprehensible. It still seemed to be a film that I’d generally be interested in, so I decided to give the film another chance, since it could’ve just been me. We all have our off days, even when viewing a film. So, I made sure the second viewing was at a screening that included subtitles, so I could follow the dialogue better. The second viewing was indeed a better experience, but I maintain my stance on the film being a hard sell.

Because the tale of the legendary heroic outlaw has been told time and again in literature, theatre, television, and cinema, there’s always a question about what exactly another iteration will offer. There’s often a face-off between good and evil, a romantic angle (usually between Robin and Maid Marian), and, depending on the setting, elements of class warfare. For pure swashbuckling excitement, there’s the classic 1938 adaptation, and for pure delight and comedic rewards, there’s Disney’s 1973 version. Those are the two I grew up on. In the early 90s, there was the big-budget blockbuster take, “Robin Hood: Prince of Thieves”, which was primarily ridiculed for Kevin Costner’s spotty English accent, yet praised for Alan Rickman chewing scenery as the classic sniveling antagonist, the Sheriff of Nottingham. That was quickly followed by Mel Brooks spoofing it and previous iterations with “Robin Hood: Men in Tights”, which included Dave Chappelle in his feature debut. In 2010, Ridley Scott and Russell Crowe took their turn at a gritty and historical take on the classic story with “Robin Hood,” and the last time the character was on the big screen was in 2018, when Taron Egerton played the outlaw, and that debacle earned some Razzie nominations.

Clearly, Robin Hood has been done to death; a more intriguing question is: Has he ever been done to his death? That’s what Sarnoski aims for here, with a dark and dramatic take that doesn’t flinch from graphic violence. Sarnoski is influenced by an anonymous 17th-century ballad titled Robin Hood’s Death, which comes from the longer version, The Gest of Robyn Hode, and he’s aiming to tell the archer’s last days after he commits to self-exile and moral ruin. It’s the same source material that was used for Richard Lester’s 1976 romantic adventure, “Robin and Marian”, with Sean Connery and Audrey Hepburn playing the titular aging characters. Sarnoski’s film is very different than that one, and is being compared to “Unforgiven”, and perhaps because of Hugh Jackman’s involvement, more closely to “Logan”, but it feels more like a stepbrother to Nicholas Winding Refn’s “Valhalla Rising” from 2009.

It is 1274, and Robin Hood (Hugh Jackman) is a nomad, without a home, a companion, merry men, or any honor. He lives like a wounded animal in the hills of Northern Ireland, ready to kill anyone who stands in his way, offering no pity to anyone he comes into contact with. He’s weathered and weary, but still quite feral when deemed necessary. That will be his default mode since there are family members of his endless list of victims who are out to track and kill him. This isn’t the hero of traditional folklore; in fact, this Robin is quite clear with whoever is unlucky to come across him that those tales are all just stories and how Robin is “no hero”, nor did he ever have a romance with a Marian.

In the first 15 minutes of Sarnoski’s film, we see how quick this long-haired, scraggly-bearded Robin is with a sharp object, regardless of whether the target is a teenage girl or a young boy. Truly, this isn’t a hero, so the real question is whether he has a chance at redemption or if he’s even interested.

As his solo journey continues, Robin unexpectedly reunites with Little John (an unrecognizable Bill Skarsgård), who now makes an itchy pair with him. He persuades Robin to return with him to his home, where his wife and young daughter have been held hostage by the warriors searching for him. Reluctant, but perhaps out of obligation, Robin accompanies John to his home, and the two become involved in a gruesome and deadly fight that leaves John’s house in flames and Robin barely making it out alive. Needless to say, it doesn’t go well for John’s family.

When he awakens, the beaten and battered man finds himself in the care of Sister Brigid (Jodie Comer, strong and tender), a prioress who oversees a small community on an island priory. She tends to Robin’s wounds with her bloodletting skills and also provides some physical therapy for his broken leg. Once he’s able to ambulate on his own, Robin, who introduces himself as “Randolph”, takes in this place of peace and eventually becomes part of the community by offering various manual labor tasks. His rough exterior begins to soften as he befriends a kind, bandaged man known as The Leper (a great Murray Barlett) and eventually becomes a father figure to young Margaret (Faith Delaney), who has her own traumatic past. But with the arrival of Arthur (Noah Jupe, “Hamnet”), a recently wounded young man, Robin finds that his vicious past is inescapable.

Much of “The Death of Robin Hood” isn’t for the faint of heart. You won’t be hearing a Bryan Adams ballad in this iteration of the famous archer, but you will see an arrow zip right through the back of a little boy’s head. Jackman starts off as a niserable and cantankerous man until he arrives at the priory, where he cautiously accepts help from Brigid. She conveys the same amount of caution as she considers where his wounds could have come from and whether or not such violence will follow him here. The Leper shares the same concern and warns Robin that he is in a peaceful place, and shares, “It’s never too late to find peace.” But we know better, and so does Robin. This is a man who sees redemption as unattainable and undeserved.

The sound and vision of “The Death of Robin Hood” is felt right from the start, with whipping winds and composer Jim Ghedi’s moody folk score, as the film’s tone settles into its dirge-like pace. Sarnoski maintains this pace throughout, which often detracts from the viewing experience. The director lingers on character pauses, is enamored with his star’s weathered face (and veiny arms), and delivers violent action that is more exhausting than exhilarating.

The 35mm cinematography by Pat Scola, who lensed Sarnoski’s last two films, relies on natural light, resulting in scenes that are either dim or oversaturated. I got used to it on my second viewing and, after a while, even noticed that some of the frames resembled classic oil paintings. Adding to the historical revisionist setting is the undeniably impressive work of costume designer Lorna Ó Ríordáin (who worked on HBO’s “A Knight of the Seven Kingdoms”), whose keen eye for textures, layers, and colors goes unnoticed. It definitely adds to the film’s carefully crafted makeup and production design.

“The Death of Robin Hood” is a fascinating study of tortured characters. No one character goes unscathed from trauma or violence, and the strong acting convincingly and deftly communicates this. The film lives up to its title, arriving at an inevitable conclusion, which feels like a relief for everyone involved, including the audience.  Again, it’s hard to fathom why this is being dropped in June rather than October or November. Maybe they were overestimating the Jackman factor. It definitely confirms the actor’s versatility, but those expecting a traditional depiction of Robin Hood or an easily digestible follow-up to “Song Sung Blue” will be perplexed.

RATING: ***