The Death of Robin Hood: A Grim, Humanized Reimagining of the Legend

Michael Sarnoski’s *The Death of Robin Hood* follows an aging Robin Hood (Hugh Jackman) in 1247 A.D., opening with brutal mud-filled combat before he seeks refuge at a remote priory, cared for by Sister Brigid (Jodie Comer). The film emphasizes a stark medieval landscape.

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Drawing on medieval-English lectures, Sarnoski concluded that most battles involved peasants wielding shovels, not armored knights. He aimed to “strip this down to its essentials,” making early action “unpleasant” and “disturbing” while “humanizing” Robin Hood and probing what “makes Robin Hood tick.”

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A24 acquired the rights in May 2024. The picture was shot in Northern Ireland’s wilderness over 30 days, using castles, mountaintops and mud pits. The budget was described as “reasonable,” financed internationally on spec, and the aspect ratio shifts when the story moves to the priory.

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Jackman, known for the violent Wolverine role, was chosen for his ability to portray both aggression and underlying warmth, making his Robin Hood moments of kindness feel authentic. Comer’s Sister Brigid replaces the traditional “evil nun” with a blend of childlike sweetness and mature gravitas, creating a contrasting dynamic.

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Sarnoski calls the picture a “thoughtful, heartfelt, dark movie” and a “weird take on Robin Hood,” emphasizing its indie, internationally-financed nature as a “labor of love.” He says the film balances somber tones with an optimistic, hopeful ending.

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*The Death of Robin Hood* is slated to open in theaters on June 19, distributed by A24.

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• “You think of medieval battles as knights in shining armor, riding in on horses, but most of the time it was just peasants beating each other to death with shovels in the mud,” — Michael Sarnoski, Writer-Director

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• “I needed that action to be unpleasant. After you watch the action in the first third of the movie, I want you to be a little disturbed by it.” — Michael Sarnoski

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• “But he’s such a warm, kind person that no matter what, we can have him do all the horrible things we want in the movie — and those moments when you see kindness in him feel really real.” — Michael Sarnoski

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• “She’s very childish and sweet at times, but then she has this real gravitas and poise and wisdom that feels kind of beyond her years, and she can play all of those things at the same time. She’s very observant, but she also plays a lot of it close to the chest.” — Michael Sarnoski

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