---
title: "The Death of Robin Hood"
year: 2026
kind: "film"
canonical: "https://film.one/film/the-death-of-robin-hood"
fi1m_id: "the-death-of-robin-hood"
imdb_id: "tt32273171"
tmdb_id: 1284465
wikidata_id: "Q125960231"
fi1m_score: 66
critics_score: 63
critics_reviews: 12
published: "2026-09-14"
updated: "2026-09-18T08:38:22.957995+00:00"
region: "IN"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Death of Robin Hood (2026)

Directed by Michael Sarnoski · 2h 03m · CBFC A · Adventure, Drama, Action

## Identity

The Death of Robin Hood

- **Canonical:** https://film.one/film/the-death-of-robin-hood
- **Type:** Film
- **Fi1m ID:** the-death-of-robin-hood
- **IMDb ID:** tt32273171
- **TMDB ID:** 1284465
- **Wikidata ID:** Q125960231
- **Same entity:** https://www.imdb.com/title/tt32273171/, https://www.themoviedb.org/movie/1284465, https://www.wikidata.org/wiki/Q125960231

**Fi1m score: 66** · Critics 63 from 12 reviews

*In a sentence:* Robin Hood needs forgiveness, and possibly someone willing to interrupt him

> Hugh Jackman and Jodie Comer give Michael Sarnoski’s sombre Robin Hood drama enough humanity to justify the grimness. The performances make it worth considering, though the script keeps returning to remorse long after we have understood the problem.

## Synopsis

Robin Hood (Hugh Jackman) is an ageing outlaw troubled by the violence of his past. As he faces questions of guilt and forgiveness, the familiar stories of his heroism give way to an account of a man reckoning with the harm he has done. Countryside and a priory provide the settings for a story concerned with conscience, mortality and the possibility of redemption. Michael Sarnoski writes and directs, with Jodie Comer as Sister Brigid, Bill Skarsgård as Little John and Murray Bartlett as the Leper.

## Review

Michael Sarnoski’s *The Death of Robin Hood* is a sometimes affecting character drama that spends too long telling us how badly its central figure feels. Hugh Jackman’s ageing Robin is a violent outlaw troubled by his past, and Sarnoski, who also writes, is interested in what remorse might ask of him. There is little invitation to enjoy being in his company. The film is worth considering for its two leads, but the long stretches of brooding make that a qualified recommendation.

Jackman is persuasive as a man worn down by his own behaviour. A violent man looking back on his life can become an excuse for an actor to advertise suffering, but the performance here keeps us interested in whether Robin can change. Jackman gives the character sufficient humanity for that question to matter, despite the violence in his past. The difficulty is that the writing has rather less to add once the question has been asked.

Jodie Comer, as Sister Brigid, supplies the warmth that Robin cannot provide. We were moved by her performance: her empathy makes the prospect of forgiveness feel possible for someone the film has given us reasons to distrust. It is an important contribution in a drama so ready to return to self-reproach. Sarnoski gets tenderness from his actors, and Comer gives us a reason to keep looking beyond Robin’s misery when the script seems reluctant to do so.

Pat Scola’s cinematography gives the rural surroundings a beauty that the human behaviour seldom earns. The priory setting, with production design by David Lee, feels substantial enough to support the film’s retreat into reflection. Scola gives us something worth looking at when the drama stalls, and the setting helps the quieter passages hold our attention. Even so, there are stretches when we are taking more interest in the surroundings than in the man who has brought us there.

Andrew Mondshein’s editing allows the reflective drama to settle, then lets it sit there for too long. The fault seems chiefly to lie with Sarnoski’s writing: once Robin’s remorse is established, too much of the wordy drama repeats what we have already understood. Jim Ghedi’s music cannot give those passages the sense of development they lack. At 123 minutes, a film with so little movement in its central character needs more variation in the people and questions around him.

A revisionist adventure has more to do than make its hero unpleasant and his violence difficult to watch. It needs to find something sufficiently interesting to replace the pleasures it has taken away, and Sarnoski only intermittently manages that through the question of forgiveness. His script would benefit from letting Robin face a greater range of questions, rather than spending so much time on his regret. Too many of the conversations leave us with the same understanding of Robin we had before they began.

The violence makes this a poor choice for anyone hoping that a familiar name promises comfortable company. Its 15 certificate is worth taking seriously, even though much of the film is given over to reflection. We would suggest it to those who enjoy sombre character studies and can forgive a script that circles its subject. Anyone looking for a rousing outlaw adventure should choose something else.

*Fi1m score 66, published 14 September 2026.*

## What the critics say

The consensus leans positive, with substantial reservations about this sombre revision of the Robin Hood legend. Praise centres on Hugh Jackman’s haunted portrayal of a violent outlaw confronting his past, while Jodie Comer earns recognition for bringing warmth to the drama. The more favourable reviews find sensitivity in the treatment of guilt and redemption, alongside a willingness to question the familiar hero. Rural scenery and carefully composed images also draw praise, even when the storytelling proves less persuasive.

The divide is wide over whether the brooding produces emotional depth or merely slows the film down. Variety admires the craft and performances but finds the tone persistently dour and the character arc slight. The Telegraph is much less forgiving, citing a lack of plot and engaging storytelling. The Hollywood Reporter likewise finds tedium rather than profundity, making clear that the central performance is not universally admired.

## Straight answers

**Is The Death of Robin Hood worth watching?**

*The Death of Robin Hood* is worth watching for anyone who enjoys sombre character studies and can forgive a script that circles its subject, and we scored it 66. Hugh Jackman and Jodie Comer give the film its humanity, but Michael Sarnoski's writing keeps returning to Robin's remorse long after the point has been made. Anyone hoping for a rousing outlaw adventure should choose something else.

**How long is The Death of Robin Hood, and what is it rated?**

*The Death of Robin Hood* runs 2h 03m and is rated A by the CBFC in India. It is an adventure and drama film.

**Where can I watch The Death of Robin Hood in India?**

*The Death of Robin Hood* is not on any streaming or rental service in India at the moment. It is available in 10 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is The Death of Robin Hood, and is it suitable for children?**

*The Death of Robin Hood* is certified 15 in the UK and R in the US, and it is not suitable for children. Robin is a violent outlaw and the film makes his violence difficult to watch, though much of the running time is given over to quiet reflection rather than action. The squeamish should take the certificate seriously; older teenagers with a taste for grim drama may manage it.

**How does The Death of Robin Hood compare to Unforgiven?**

*The Death of Robin Hood* is the weaker of the two, a sombre outlaw drama that shares [*Unforgiven*](https://film.one/film/unforgiven)'s interest in a violent man reckoning with his past but has less to say once that reckoning begins. Clint Eastwood's Western is graver and more absorbing, and we would send a stranger to it. Sarnoski's film suits those who want the same question asked of Robin Hood, with performances rather than story holding the attention.

**What should I watch after The Death of Robin Hood?**

After *The Death of Robin Hood*, try [*Unforgiven*](https://film.one/film/unforgiven) (1992, Fi1m 92): A former killer’s past makes the prospect of fresh violence difficult to celebrate. Then [*Pig*](https://film.one/film/pig) (2021, Fi1m 82): Sarnoski gives another wounded man the patience and tenderness that action usually displaces; and [*The Assassin*](https://film.one/film/the-assassin) (2015, Fi1m 82): For more patient viewing, with rural beauty and a killer troubled by duty.

### Reviews we read (17)

- **Empire**, Al Horner (80/100, inferred): The critic praises the film's shift from brutal violence to a tender, introspective drama about a violent outlaw confronting his conscience and finding unexpected humanity. Sarnoski is singled out for coaxing tender performances and capturing rural beauty in a poignant meditation on myth and violence. [Read](https://www.empireonline.com/movies/reviews/the-death-of-robin-hood/)
- **Time Out**, Ian Freer (4/5): The film offers a bold, brutal yet sensitive reimagining of the Robin Hood legend as a complex, morally ambiguous figure. It singles out Hugh Jackman’s performance as one of the best of his career for etching a man reckoning with his past evils. [Read](https://www.timeout.com/movies/the-death-of-robin-hood-review-2026)
- **Slant Magazine** (3/4): The film is a tough character drama that brings the legend down to earth as a mournfully humanist revisionist tale. It focuses on reconciling past wrongs and the possibility of absolution through a battleworn Robin who bears no resemblance to the cultural myth. [Read](https://www.slantmagazine.com/film/the-death-of-robin-hood-review-hugh-jackman-michael-sarnoski/)
- **Financial Times**, Danny Leigh (70/100, inferred): The critic sees a thoughtful revisionist drama that recasts Robin as a murderous bandit seeking redemption, praising its provocative approach to myth and history while noting it ultimately can't fully let go of the legend. [Read](https://www.ft.com/content/f989b8d8-0ea1-4ffc-aaf0-5176905abf4b)
- **Radio Times**, Terry Staunton (3/5): This sombre, pensive take on the outlaw’s final days delivers a wordy drama focused on morality and consequences rather than action. It singles out the strong central performances by Hugh Jackman and Jodie Comer and the lush cinematography of the priory settings. [Read](https://www.radiotimes.com/movies/the-death-of-robin-hood-a24-review/)
- **The AV Club**, Jacob Oller (C): The film shares a jaded disillusionment with myth but stays on the surface in its grimdark revisionist folktale. It limps through dull, sludgy drama focused on a sad old man wishing for death, with only fleeting moments of optimism from supporting characters. [Read](https://www.avclub.com/the-death-of-robin-hood-review)
- **The Guardian** (50/100, inferred): The critic finds the revisionist take conceptually intriguing but ultimately unsuccessful, praising craft but noting it struggles with tone and emotional depth. [Read](https://www.theguardian.com/film/2026/jun/16/the-death-of-robin-hood-review-hugh-jackman)
- **Screen Daily** (40/100, inferred): The review finds the film rich in atmosphere but hampered by an excessively brooding approach that makes it feel uninspired and overly familiar. It singles out the realistic, violent portrait of an ageing, disillusioned Robin Hood grappling with his sins. [Read](https://www.screendaily.com/reviews/the-death-of-robin-hood-review-hugh-jackman-is-the-tortured-ageing-outlaw-in-sombre-uninspired-drama/5217561.article)
- **The Telegraph** (30/100, inferred): The critic finds the film gruelling and no fun, criticising its grim tone, lack of plot, and failure to deliver engaging storytelling despite the source material. [Read](https://www.telegraph.co.uk/films/2026/09/04/the-death-of-robin-hood-hugh-jackman/)
- **RogerEbert.com**, Brandon David Wilson: The film subverts expectations of a Robin Hood story in the manner of Sarnoski's Pig, offering an Unforgiven-like character study of an aged, violent outlaw reckoning with his past. Jackman's performance as a haunted figure seeking a form of redemption is singled out as one of the most interesting takes on the character. [Read](https://www.rogerebert.com/reviews/the-death-of-robin-hood-hugh-jackman-movie-review-2026)
- **The Hollywood Reporter**, Frank Scheck: The critic finds the revisionist take on Robin Hood a tedious slog that fails to deliver profundity or interest despite its premise of a murderous antihero. Sarnoski's dour, humorless approach and Jackman's grizzled performance are singled out as off-putting and unengaging. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-death-of-robin-hood-review-hugh-jackman-jodie-comer-a24-1236618440/)
- **Variety**, Guy Lodge: Sarnoski's revisionist take is exquisitely crafted and emotionally intelligent in its myth-busting and moral reckoning, returning to the intimate melancholic style of Pig with strong performances from Jackman and Comer. The consistently dour, one-note tone and slender character arc are noted as drawbacks. [Read](https://variety.com/2026/film/reviews/the-death-of-robin-hood-review-hugh-jackman-jodie-comer-1236772346/)
- **Vulture**: The critic sees the film as pushing nihilism to extremes in a brutal, serial-killer version of the aging Robin, beyond mere regret. Sarnoski's artful bleak visuals and shift to a priory setting with philosophical elements are highlighted amid the grotesque violence. [Read](https://www.vulture.com/article/review-death-of-robin-hood-is-logan-on-steroids.html)
- **Deadline**, Pete Hammond (85/100, inferred): The critic praises Sarnoski's brutal, original take that deconstructs the Robin Hood myth, highlighting Jackman's transformative performance and the film's honest, meditative journey toward redemption. They single out the stunning cinematography and the way it reinvents the legend through a new lens. [Read](https://deadline.com/2026/06/the-death-of-robin-hood-review-hugh-jackman-jodie-comer-1236953151/)
- **The Wrap** (75/100, inferred): The critic finds the film a smart, somber deconstruction of the Robin Hood myth and action heroes in general, praising Jackman's excellent lead performance while noting it makes a valid point but isn't as impactful as Sarnoski's prior works. They single out the mature handling of violence and atonement. [Read](https://www.thewrap.com/creative-content/movies/the-death-of-robin-hood-review-hugh-jackman-a24/)
- **/Film**, Chris Evangelista (7/10): The critic finds Sarnoski's film a violent, mournful deconstruction of the Robin Hood myth that evokes unexpected sadness through its focus on regret and legacy. They single out the reflective second half's exploration of the cycle of violence and Jackman's haunted performance for praise. [Read](https://www.slashfilm.com/2192179/the-death-of-robin-hood-review-hugh-jackman-2026-movie/)
- **Den of Geek**, David Crow (4 out of 5): The film is a straightforward character study of an older, flawed Robin Hood that blends extreme medieval violence with a quiet sense of grace and redemption. It singles out Hugh Jackman's charismatic yet challenging performance and Jodie Comer's warm, empathetic portrayal of Sister Brigid as the true emotional core. [Read](https://www.denofgeek.com/movies/the-death-of-robin-hood-review-hugh-jackman-beautifully/)

## Details

- **Director:** Michael Sarnoski
- **Director:** Michael Sarnoski
- **Writer:** Michael Sarnoski
- **Cinematography:** Pat Scola
- **Editor:** Andrew Mondshein
- **Music:** Jim Ghedi
- **Production design:** David Lee
- **Costume design:** Lorna Marie Mugan
- **Producer:** Alexander Black, Andrew Swett, Aaron Ryder
- **Cast:** Hugh Jackman as Robin Hood; Jodie Comer as Sister Brigid; Bill Skarsgård as Little John; Murray Bartlett as The Leper; Noah Jupe as Arthur / Godwyn; Jade Croot as Wainwright; Faith Delaney as Little Margaret; Tabitha Smyth as Sarah
- **Runtime:** 2h 03m
- **Certificate (CBFC):** A
- **Release (India):** 3 July 2026
- **Genres:** Adventure, Drama, Action
- **Budget:** $25 million
- **Box office:** $3 million
- **Trailer:** https://www.youtube.com/watch?v=tlSDDuWxO_0

## Where to watch in India

Not streaming, renting or buying in India at the last check.

Also available in: AT, AU, CA, CH, DE, GB, IE, NZ, PL, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Robin and Marian* (1976): Another ageing outlaw discovers how awkwardly love and legend survive into later life.
- *Unforgiven* (1992), Fi1m 92: A former killer’s past makes the prospect of fresh violence difficult to celebrate. — [Fi1m page](https://film.one/film/unforgiven.md)
- *Pig* (2021), Fi1m 82: Sarnoski gives another wounded man the patience and tenderness that action usually displaces. — [Fi1m page](https://film.one/film/pig.md)
- *The Twilight Samurai* (2002): A weary swordsman’s domestic responsibilities matter as much as his skill with a blade.
- *The Assassin* (2015), Fi1m 82: For more patient viewing, with rural beauty and a killer troubled by duty. — [Fi1m page](https://film.one/film/the-assassin.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-death-of-robin-hood