"Outlaw King" by Chris Pine is a disappointing medieval drama:

There are some reasons to recommend King outlaw, The medieval film of David Mackenzie with Chris Pine in the role of Robert the Bruce.

For one, it is pretty. As, really pretty. Mackenzie never misses an opportunity to showcase the pristine beauty of the Scottish countryside, with its rolling hills and tender mists. There is a particular blow of a rainbow that almost makes me gasp.

There is also a lot of fighting, if you are in that kind of thing. The film rarely lasts more than 20 minutes without a fight scene, some are more doomed or more epic or more violent than others, but all are choreographed convincingly to appear difficult, exhausting and brutal. Would you like The iron Throne had a lot less conversation and a lot more action? King outlaw could be for you.

And – it must be recognized, because it was the speech of the TIFF -, it presents a brief scene of the frontal nudity of Chris Pine. Not for a real reason. The NSFW revelation does not advance the plot or themes in any way. It's just there, swaying casually as he bathes in the river and chats with his friends, because realism, I suppose?

But dig beyond these surface pleasures and there is not enough The The. King outlaw is one of those historical dramas that take Wikipedia's approach to storytelling: it happens, then it happens, then that guy dies, and then that battle takes place, and then that happens. There are some legends in the end to explain how everything is going, and then it's time for credits.

King outlaw Robert is more interested in the historical figure than in Robert the person.

King outlaw sometimes shows glimmers of the most interesting movie that it could have been. Mackenzie has an eye on the little human details that make a real world, such as the awkward look traded between two strangers at their own wedding ceremony, the barely restrained veil of a father regarding his disappointing son. And his talented cast does his best to bring their characters to life. But many times, the film lets them down.

Florence Pugh (Lady Macbeth) brings such strength and warmth to the role of Elizabeth, Robert's wife, that she appears to be an early candidate for the film's most intriguing character – before the plot intrudes her. turns away, giving him little to do for the last two-thirds of the movie film. Lord Douglas of Aaron Taylor-Johnson shows flashes of savagery, but only in a brief glimpse – otherwise, he only plays another of Robert's men.

Even Pine, in the leading role, deserves better. King outlaw seems more interested in Robert's historical figure than Robert's person, and keeps it at bay. So, although we spend a lot of time looking at Pine staring into the distance, charging bravely into battle, or suffering nobly at the hands of English soldiers, it's hard to say that we really know him at the end of the film.

What these people are beyond their names and titles, why we should be invested in their journey, and what are the most important cultural and political forces that drive them, is only a clear exploration. Maybe viewers more familiar with Scottish history will not care as much; if you are already fully invested in Robert the Bruce and his quest to unify Scotland, King outlaw probably sells But for everyone, King outlaw does not offer much to hang.