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If you're a Robin Hood purist, you're probably not going to play in Robin Hood. It is a film that helps to renovate the legend of children, and he is not shy for his fast action and furious. -and-attitude makeover trends. Battle scenes, fought with bows and arrows, are really battles, in which the arrows land with the force of the bullets, destroying on contact. The cast is composed of sex appealing fresh-faced young idols: Taron Egerton, from the movie "Kingsman", playing the kind of boys' group, Robin Hood, a high school student could hang a poster in his bedroom; Eve Hewson, who – you've heard it here in the first place – has all it takes to be a big movie star (more about it in a moment), as an extremely sensual Marian and full of enthusiasm that does not take his orders to anyone; and Jamie Dornan, "Fifty Shades of Gray" movies, like a good bearded boyfriend of scraggle-Marian. (You know that a movie is about pretty people when Jamie Dornan is portrayed as the boring guy.)
Beyond that, the film treats Robin Hood as a black knight of the fourteenth century, a mysterious avenger known as "The Hood," with Robin de Locksley as his alter ego of Bruce Wayne. (This duality, of course, is inscribed in the legend, but here it plays the role of knowledge of the culture of the superheroes.) The masses of the poor people for whom Robin fights are like a kind of dystopia YA living in the black and dark middle of the mines they work every day.
And in case that's not enough … the film is a story of origin! None of the new "Robin Hood" takes place in Sherwood Forest. It is located in the castle's corridors and the teeming streets of Nottingham, a vast medieval village where Robin, an aristocrat who returns after fighting for the British in Arabia, learns that his family estate has been seized by the ignoble sheriff of Nottingham ( Ben Mendelsohn). Robin also loses his pressure, Marian, to whom the sheriff has said that he was killed in action. (That's why she's now with Dornan's will.) The film is about how a broken guy turns into a freedom fighter.
But go ahead, object to all that you want to this degradation of an impure legend, fleeing after youth. Robin Hood is not a classic, but if it sometimes seems like you're trying to be Baz Luhrmann's Robin Hood, it gives you more power. The film is a live-lark-hijacking son – which, for my money, is getting close to the spirit of what Robin Hood is about to have the 1991 Kevin Costner logie or 2010 Dark Version version of Russell Crowe. The fact that these two films, in different ways, have failed to evoke the diabolical embarrassment of the Robin Hood saga is perhaps a sign that it is finally time to stop telling this story with the same old tropes. In any case, it is not as if anyone would compete with the "Robin Hood Adventures" of 1938; in this wildly colorful bender, Errol Flynn had the majestic joy and aerial plume of a leaping, leaping god, and his mind was contagious. For whatever reason, Costner and Crowe both played Robin Hood with a trowel.
The new "Robin Hood" touches at least the heart of the story: the frenzied carelessness of a valiant outlaw and the duel between Robin and the Sheriff of Nottingham. Egerton Taron plays Robin with sparks, and he is especially talented when Robin de Locksley, pretending to be the sheriff, plays brainstorming games with him. He is like a great professional climber who knows how to exploit the weakness of his boss, and the sheriff gives him a lot of work. Ben Mendelsohn's performance is nothing short of sensational. His look is out of the ordinary – the long leather coats of a downtown fop, a haircut quite separate from the 1980s – and he speaks with a slight hint of anger, turning the sheriff into a fascist at the striking logic, with a background of childhood a pain that turns too convincingly into adult sadism. Mendelsohn is all icy control until he begins to rant, how much you can not look away from him.
The director, Otto Bathurst, who worked on the television series (which is his first feature film), knows how to deliver Superbly staged action goods, but he also faces-offs at the show. human scale. The characters we know pop up here and there, like Tuck (Tim Minchin), who still takes confessionals to the church and is all sheepish, long-haired millennial self-doubt. The same goes for actors such as F. Murray Abraham, who spends an exquisite time as a cardinal collaborating with the sheriff; Abraham's scowling satire of religious hypocrisy is just sharp enough to give a glimmer of speed. As for Jamie Foxx, he is a ball of magnetic energy John, the proud Arab who loses his hand (and son) in the Crusades, then stows away on Robin's military ship and forms a mutually beneficial bond with him. Foxx brings to his scenes a raw fury that ignites the film.
And then, of course, there is Marian. Eve Hewson, who is the daughter of Bono, has a romantic presence expressed through a timeless look – she holds the screen with the kind of electrifying sparkle that you are either born with or you're not not. It roots this young demagogue in something from the heart, which makes it duly recognized by a case of unrest for the people to join Robin's cause, but beyond Hewson's simply he. At the end, the movie makes a sign towards a sequel (together, probably, in Sherwood Forest) with a damn good twist of villainy, and the presence of an actress like Hewson is one of the reasons that you really want to see.
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