This Robin Hood steals from Nolan’s Batman trilogy
Robin Hood Rated: PG-13 for extended sequences of violence and action, and some suggestive references. Running time: 116 minutes. 66 out of 4
If there’s one thing about the legend of Robin Hood the makers of its new film version take to heart, it’s that stealing is good.
This gleefully revisionist and kleptomaniacal “Robin Hood” features Taron Egerton as the lord-turned-larcenous revolutionary. It’s heavy on the revolution, but light on the derring-do — something of a waste, considering the “Kingsma” star’s savoir faire. The action is violent and improbable but not staged with particular pizazz. Jamie Foxx plays a Crusades foe-turnedmentor with an inconsistent accent. Eve Hewson’s (Bono’s daughter’s) Marian is a social activist. Ben Mendelsohn enjoyably chews bile as the Sheriff of Nottingham, taxing people to death to fund a fraudulent war.
“Robin Hood” dumps traditional trappings — no Merry Men, Sherwood Forest,
etc. It begins with narration declaring it could explain “the history but you wouldn’t listen.” Its timeless, mix-and-match setting is less rooted in Medieval, than film, history.
From “Robin Hood: Prince of Thieves,” it takes the foreign enemy/ally from the Crusades. From “Saving Private Ryan,” combat cinematography. It echoes “The Princess Bride” with separated lovers, exaggerated report of one’s death, and subsequent disguise.
But its primary fount of filching is Christopher Nolan’s Batman trilogy. This Robin returns from abroad to be handsome rich guy by day, masked avenger by night. There’s a street war out of “Dark Knight Rises.” There are quotes from Hans Zimmer’s “Dark Knight” score and even a villain origin lifted from that film.
Its non-history has roots in recent real-world events. The Sheriff gins up support for a war that is not what it seems with rhetoric closely recalling “They hate us for our freedom.” The movie is sure to rile some with its corrupt church in bed with a corrupt state. (“Fear” is their greatest weapon, says a cardinal: “It’s why the church created hell.”) But the delight taken in throwing film references in the blender with a shot of social consciousness can take a familiar tale only so far.