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Arrows, gold, two crossbows: how did the movie "Robin Hood: Beginning"

Another rethinking of the story of the noble Loxley gangster - how stylistically interesting, so boring in everything else.

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evaluation

Lord Robin and his beloved Marian do not live in a large estate in the town of Locksley until a green man visits them and brings the master a summons to the nearest medieval military enlistment office. The next few years, Robin will spend the war with the Saracens, where he will face the master archer John (in fact, his name is different, but the characters decide that it is easier). When he returns home, it turns out that the sheriff of Nottingham long ago declared him dead and confiscated the estate, and Marian, having grieved, went to a local public figure. Driven by personal revenge and the desire to correct the chaos and devastation prevailing around them, Robin and John begin - all right - to rob the rich and distribute to the poor.

Frame from the film “Robin Hood: The Beginning”

Frame from the film “Robin Hood: The Beginning”

It is strange that the authors of “Robin Hood” did not stick out the main “chip” of their film until the premiere. But she could easily have distinguished him from a series of boring "rethinking" and removed from the public consciousness the image of such a mentally retarded brother of the "Sword of King Arthur" (although it is even more backward). The fact is that there are no suitable suits for the setting, which everyone managed to laugh at the moment the first trailer came out, here lies a whole unusual and very interesting aesthetics. By analogy with the "steampunk" it can probably be called something of a "woodpunk." Or drevpanka, if you want.

Frame from the film “Robin Hood: The Beginning”

Frame from the film “Robin Hood: The Beginning”

The costumes here are just the beginning: in the film world, technology basically blurs the line between modernity and the Middle Ages. They mix two chronotopes into a single unusual picture, where you can make at least a machine gun, even an RPG, even a nuclear warhead (the last, really, my guess) from a crossbow, and soldiers wear body armor instead of knight’s armor. Such a fantasy without magic, a funny idea, which, unfortunately, did not occur to anyone more imaginative.

Frame from the film “Robin Hood: The Beginning”

Frame from the film “Robin Hood: The Beginning”

One of the first scenes in which Robin goes to war with the Saracens is completely stylized as a war film about sea lions in some conventional Iraq. At first it looks strange, but when you get used to it, it becomes curious - especially since the styling is literate, and we don’t see anything like it yet. At some point, the idea arises that it would be nice to see the whole film in such a manner. That's just the creators of “Robin Hood” - and this feeling does not leave until the very end - as if they did not fully understand what a cool thing they came up with: there will be nothing better than this scene in the whole tape. And in general, when Robin returns to Nottingham, the worst happens with the film: there is less and less interesting styling in it, and the story smoothly slides into a rather dull retelling of the classic story as if in a new way.

Frame from the film “Robin Hood: The Beginning”

Frame from the film “Robin Hood: The Beginning”

It’s not for nothing that I focus so much attention on the style of the film - in such a stupid betrayal of the main “piece” is the main sin of “Robin Hood”. If the film were in greater agreement with the form, its scenario impotence would not be so conspicuous - and with the script here, of course, everything is very sad. Serial director Otto Bathurst copes well with the production as a whole, but all that concerns any kind of work with the text, even the most primitive, let it go, terribly by the way. Therefore, his obligatory pretentious speech in the finale does not sound perfect (although it would seem that it can be simpler), and interesting actors play faded versions of themselves from past films (although, admittedly, to take Tim Minchin to play Tuke’s brother is funny). But for another casting of Ben Mendelssohn as an unprincipled villain, someone generally needs to begin to tear his hands off - seriously, Hollywood, that's enough, this is already a move.

“Robin Hood: The Beginning” - the cinema is completely helpless: the first part of the stillborn franchise, an obvious financial failure, even critics destroy it somehow lazily and without a twinkle (see, all the ardor ended on “Venom”). In a strange way, this gives him some kind of luzersky charm, the charm of something doomed in advance, but not at all terrible. In the end, the film is very well shot: the action here is more expressive than the same "Venom" or the latest "Fantastic Beasts" - it is not too boring and almost not annoying. He, in spite of numerous blunders, does not want to scold at all. Maximum, pat on the shoulder and say softly: "Well, at least you tried." It did not work - yes, but nothing, next time it will definitely work out.

From November 29 to the cinema.

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