By Jesse Dixon
Hugh Jackman is Robin Hood in Michael Sarnoski’s dark reimagining of the classic legend, more brutal and bloody than ever before.
Something is changing in the world of cinema. An indie horror film made for $750k is performing better than the latest Star Wars film. People are flocking to the cinema for Backrooms, whilst the Mortal Kombat sequel only managed three weeks in theatres. Warner Bros. have just launched Clockwork, a specialty film label targeting writer/directors and auteurs. Independent films are now the mainstream, and it’s all because of A24.
Founded in 2012, A24 is the most well-known independent film studio of all time. They have achieved two Best Picture wins, launched the careers of many of your favourite directors, and rejuvenated the careers of many big movie stars such as Nicholas Cage, Michelle Yeoh, Adam Sandler, and Colin Farrell. Most importantly, their catalogue is filled with interesting, genre-bending, thought-provoking original films. Until recently.
Last year, A24 acquired Ne Zha 2, the sequel to Ne Zha, and the highest-grossing film of 2025. They are also currently developing film adaptations of beloved video games, Elden Ring and Death Stranding. And now, their version of a tale that has been remade and reimagined countless times in film, television, games, and even musical form. Let’s answer the pressing questions: Is The Death of Robin Hood any good, and does it affect the integrity of this film studio?
The first act of Sarnoski’s adaptation will perhaps shock audiences who are primarily used to the sexy cartoon fox version of Hood. Jackman slaughters his way through every man, woman, and child in his way, with long grey hair and a beard to match, looking extremely rough and beaten up like a war-torn Albus Dumbledore. He is quickly revealed to be anything but a hero, rather an angry, vengeful, heartless criminal. Sarnoski does not hold out on the violence either; the kills are graphic and drawn out, some particularly great ones involving Hood’s famous bow and arrow. There are shades of Wolverine in Jackman’s physical performance as he claws and bashes his opponents, often leaving him covered in large amounts of mud and blood.
Bill Skarsgård plays Hood’s companion, Little John, who, as usual, is completely unrecognisable in both voice and appearance. A fellow outlaw who has been bonded to Hood for many years, John is every bit as ruthless as his partner. The two men have good chemistry; their unorthodox connection is truly felt, and I was optimistic that the film would only escalate in the remaining 80 minutes.
How very wrong I was.
After a pivotal incident that leaves Hood critically injured, he miraculously ends up in some sort of rehabilitation centre under the care of one Sister Brigid, played by Jodie Comer. Comer has performed very well in a number of recent projects, including last year’s 28 Years Later, in which she is truly excellent, but in this role, her immense talent is truly wasted. Sarnoski’s script provides her with zero agency; her entire character is just looking after Robin Hood. Comer is much too good for this role and it’s honestly difficult to understand what appealed to her about it in the first place.
Even if this character was well developed, the final two-thirds of The Death of Robin Hood are painfully dull, moving at what Miranda Priestly would describe as ‘a glacial pace’. There’s a somewhat interesting B-plot with Noah Jupe’s character, who is out for revenge against Robin Hood, but even this wraps up in an extremely underwhelming manner. Robin Hood is also withholding information during his time at this place (to say what it is would be a spoiler), and everyone’s reactions when this is finally revealed are way too forgiving and unrealistic. And if that’s not bad enough, the ending is so drawn-out and indulgent you simply cannot wait for the film to be over at last.
I compare this film to Alphabet City, the fake movie from The Studio directed by Ron Howard. In the show, the film is praised for its exhilarating first two hours and then criticised for how obnoxious and melodramatic the 45-minute epilogue is. Which is exactly like The Death of Robin Hood, only the fun bit is 45 minutes, and the crap bit is much, much longer.
And so, to answer our two pressing questions: Is The Death of Robin Hood any good, and does it affect the integrity of A24? Firstly, not at all! This movie is not worth your precious time or hard-earned money! The second question isn’t as easy to answer. A24 are still releasing some of the best original films of the year, every year. We’ve recently had Marty Supreme, The Drama, and the aforementioned Backrooms (which is based on Kane Parsons’ own YouTube IP but is certainly original). All three of these films are among the studio’s highest-grossing films ever, and all three are original, compelling narratives with memorable moments that people will talk about for years to come. So why the need to branch out into IP? I highly doubt that Robin Hood or any of their upcoming video game adaptations will perform as well as the aforementioned original titles. Maybe A24 have a grand plan, maybe they know exactly what they’re doing, and I’ll be eating my words five years down the line, but at this present time, I’m sceptical, and slightly concerned.
‘The Death of Robin Hood’ will premiere at the 73rd Sydney Film Festival on Friday, 12th June, 2026, and officially release in Australian cinemas on the 18th June.