Sonic Cinema

Sounds, Visions and Insights by Brian Skutle

Robin Hood

Grade : C+ Year : 2010 Director : Ridley Scott Running Time : 2hr 20min Genre : ,
Movie review score
C+

Something to keep in mind while watching this version of the classic adventure hero is the original concept behind it. If you’ll recall, this was to be a look at the legend from the perspective of Robin Hood’s iconic villain, the Sheriff of Nottingham.

That idea was almost as wrongheaded as what we get here from Ridley Scott and screenwriter Brian Helgeland, which is meant to be an origin story. My biggest question is this- why is either necessary? The story, as told by either Michael Curtiz and Errol Flynn or Kevin Reynolds and Kevin Costner, was fine as it was.

And it was fun. There’s not a lot of that in this one, although I did like the way the Merry Men were integrated into the story, even if they aren’t quite as merry. But the idea behind Robin’s origins here is less respectful to the character we know and love than the idea of a man of the working class robbing from the rich to give to the poor, and trying to hold the fort for Richard the Lionheart’s return to England. Here, Richard’s dead early on, and his younger brother John proves ineffectual as a leader, allowing an old friend named Godfrey (Mark Strong) to run rampant in the name of the crown.

The result is not dissimilar to “Braveheart,” or Scott’s own “Gladiator” (and even a little like his underrated 2005 epic “Kingdom of Heaven”), with a final battle of a beach that is a lot like the opening sequence of “Saving Private Ryan.” It all looks terribly great onscreen (the day Scott makes a bad-looking film is the day he should retire), but offers nothing new in terms of the characterizations of Robin of Loxley (Russell Crowe, in full “unleash Hell” mode) and the maiden Marion (Cate Blanchett, bringing more than a little of her Queen Elizabeth to the role). And is it just me, or did I hear a little bit of “Beowulf” in Marc Streitenfeld’s score?

Even more so than some of his recent efforts (like the political thriller “Body of Lies” and the “dramedy” “A Good Year”), Scott’s interest in making this film borders on the inexplicable, and makes one more curious about those “Alien” prequels he’s signed on for (will they be just as unnecessary?). True, he’s done some of his best work the past decade with “Black Hawk Down,” “American Gangster,” “Gladiator,” and “Kingdom of Heaven” (even the darkly comic “Hannibal” had its’ moments), but one could see the appeal of those stories for the director of “Alien” and “Blade Runner.” Here, you can’t help but wonder whether Scott is all out of fresh visions for us to revel in.

Leave a Reply