I’ve come to a conclusion. Bill Skarsgård is the best character actor working right now and I will not be entertaining questions at this point.

While he didn’t have nearly enough to do in The Death of Robin Hood, the film reminded me just how good he is. I’ll say it, Skarsgård is morphing into the 2020’s answer to Lon Chaney Sr. Between his work in the IT films, Nosferatu, Barbarian, and now The Death of Robin Hood, he’s not only unrecognizable, but has the ability to make even the smallest role memorable. This is precisely what he brings to Little John. 

For this film nerd, The Death of Robin Hood proves to be a fascinating exploration of star persona. This extends, of course to the film’s star, Hugh Jackman. I was really excited to see how this would come together, especially considering the heavy make-up and his character’s advanced age. This feels like a decidedly “un-Jackman” role. There isn’t one song and dance number (or metallic claw for that matter) in the film. 

I kept waiting for Jackman’s take on “Robin” to feel transformative. He’s buried under layers of hair and grime for much of the film, but it’s rare to lose sight of his matinee idol turned superhero persona. While it is a traditionally good Jackman performance (he’s already shown us what he can do in dramas like The Son and Prisoners) he never quite finds the transformative level he’s just on the cusp of reaching. I never managed to lose sight of the “Jackman” of it all. 

That isn’t to say though, he doesn’t give a powerful performance. This film’s Robin Hood is very much in his wheelhouse. Hugh Jackman is intimately acquainted with mythic figures fighting depression in a gritty world. After all, he’s been playing Wolverine for more than two decades.

The Death of Robin Hood is a complex and sometimes perplexing experience. While it’s a movie that incorporates almost John Wick levels of brutal violence in places, Michael Sarnoski’s script isn’t afraid to get “talky”. There’s a lot of stoic speeches here and stretches of meandering dialogue.

The result is a film that drifts and rolls. There’s a beautiful eye for the 13th century aesthetics here, but I found myself wanting something this film wasn’t. I wanted witchcraft, violence and fantasy that isn’t at play in this universe. I’m surprised to say, I think it tapped into my Game of Thrones brain. 

It is, I think, through this lens that I came to Jodie Comer’s portrayal of Sister Brigid. This woman fascinated me. Her independence. Her power. Her intensity. 

My mind danced with images of Brigid performing healing spells and worshiping at altars. There’s a beauty in her independence. However, the biggest insight we get to her character (outside of spoilers deep in the third act) comes weighted down by the male gaze. We settle down with Robin (Jackman) and watch as she masturbates in front of her altar.

The scene is a strange one in its voyeurism, but we don’t know Brigid well enough to understand the moment. Is it romantic attraction? Is it something more… evil? Could she just be taking care of her own needs? Unfortunately, outside of that instance, she’s simply the saintly prioress. It’s so clear through Comer’s performance that she knows this woman inside and out, but unfortunately we aren’t so lucky. Brigid could have been so much more. 

The Death of Robin Hood isn’t Game of Thrones and this will cause problems for some. Sarnoski’s movie paints a tantalizing picture. It’s a brutal examination of revenge and the legends we weave as a culture, but its confident and meandering tone leaves plenty of room for wandering minds to think back on other works. 

Friends, this meandering is at the root of the film’s issues. I didn’t hate this movie at all. In fact, “Wind Swept Celtic Drama” is one of my favorite genres. The Death of Robin Hood though, didn’t quite keep my brain fully engaged in the experience. My mind wandered a bit too easily. It gives plenty of space for thoughts to drift and the analytical brain to turn on. I had a lot of room to get “critic-ey” during the screening. This is a heady film in deceptive packaging. It’s not afraid to think in the stillness and that’s not easy. Is it boring? You be the judge. 

The Death of Robin Hood opens in theaters June 19th.