The actor Taron Egerton is doing what sociologists might call a “reverse Kingsman” with this prequel-reboot of the Robin Hood myth. His Robin of Loxley is an athletic young Nottingham nobleman who makes common cause with the downtrodden; he becomes their outlaw action hero, sickened by their suffering and also incidentally by the crusader war he was forced to fight very much against his will, having received a rather quaint “draft” notice in ye olde lettering. He’s a Robin with proto-modern sensibilities. Robin comes back from this foreign horror to find his property looted and the people oppressed, and conceives a new righteous desire to hit back at the sneery tyrants of church and state.
This bloated, featureless, CGI-heavy movie is not so much stealing from the rich and giving to the poor, as stealing from Guy Ritchie, Batman, Two-Face and a few others – and not giving back all that much to the audience. There are one or two revisionist ideas here: chiefly, suggesting that villainy could be connected with child abuse. That thought is however raised merely as the pretext for a lurid and gloating threat of violence: another moment of misjudgment among many. It is also relatively unusual to see a young beardless Robin-before-Robin hero. Errol Flynn, Kevin Costner and Russell Crowe were all more mature Robins in their ways, and so certainly was Sean Connery as the older outlaw in Richard Lester’s silver-years reimagining, Robin and Marian. If Egerton resembles any predecessor it is the sleek and foxy Loxley in the Walt Disney animation of 1973, although with less depth and nuance.
Half - Equation - Business - Robin - Hood
The “giving to the poor” half of the equation is always a boring business that Robin Hood films tend to skimp or omit: the only clear wealth-redistribution in this one comes with Robin’s meet-cute with Marian,...
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