Robin Hood

 

In their version of the classic English myth Scott and Crowe choose to explore their hero's origins in the way that has proved so popular of late with superheroes: Hood Begins, as it were. This approach yields an exciting opening siege, handsome images of the English landscape, and a bizarre beach battle with the invading French, a medieval D-Day in reverse. Yet in its attempt to fill out its hero's back story with endless intrigues, an ever expanding cast of villains, a will-they-won't-they romance with Cate Blanchett (of course they will), and the inevitable story of an absent father, the film becomes at times a dutiful trudge through the (historically accurate) mud and loses the spry leaps and bounds of the original anti-authoritarian legend. When, in the closing scene, Hood looses a cheeky arrow at his wanted poster being nailed up by the Sheriff the thought arises: why couldn't we have started here? [Keir Roper-Caldbeck]