Robin Hood - 8/10

The story of Robin Hood is one of the most familiar of English legends, and has been brought to film more than any other historical figure, bar perhaps Jesus. The part has been played by multiple actors, including a fox, and has explored almost every aspect of the famous outlaw's derring-do's. So how does a director bring a new dimension to the well-trodden story? The answer - the now established guaranteed success of an origins story. 

Before he gathered his merry men, before he became an outlaw, and before he robbed his first penny from the rich to give to the generic poor, Ridley Scott's version joins Robin Longstride on his way back from crusading with Richard Lionheart. Robin, a common soldier, is disciplined for his "honest and naive" nature, and soon finds his way back to England and into favour on the Loxley estate in Nottingham. From here, the story moves toward the impending French invasion and Robin's role in the battle, as well as his newfound relationship with Marion, played with familiar fiestyness by Cate Blanchett. 

Despite the fear of obvious comparisons with Gladiator (same director, same leading man with the same unintelligible growl), fortunately this is not Gladiator in the woods! What emerges is an uncharacteristically lightearted Scott movie, which fizzes with energy and heart throughout. While there are moments of Maximus-inspired, highly quotable philosophising ("Rise and rise again, until lambs become lions"), the tone is light and the inclusion of a brilliantly cast band of merry men provide easy comic relief, while never descending to farce.

It is suprising however, that this is the work of the master innovator Ridley Scott. To say the plot is formulaic is perhaps unfair, but coming from the man who gave us Alien, Blade Runner, and who redefined this kind of epic character piece with Gladiator, it feels remarkably familiar. Scott's magic hands when it comes to the cinematography are still apparent - England has never looked so rich and glorious - as is his ability to choreograph some of the most spectacular battle sequences around. What this film lacks is the creative flair and touch of genius we have become so used to from one of the most significant filmmakers working today.

This minor gripe aside, Robin Hood is still by far the most effective and gripping telling of the story, miles ahead of the turgid Prince of Thieves and even more entertaining than the Disney fox. Crowe is impressive and entirely believable as a common outlaw who stood against a king. The traditional antagonists of King John and the Sheriff of Nottingham have dissapointingly minor, and in places overly comical roles, making way for Mark Strong to once again take up central bad guy duties, a part of the market he seems to be cornering quiet confidently at present. Writer Brian Helgeland, who is enjoying a return to favour after 10 years of decidedly average screenplays, manages to keep the story flowing even through a fairly static mid-section. 

A consistently entertaining, lovingly shot piece of summer fare which will stand out as one of the hits of the year. While not scaling the heights of some of his previous offerings, an average Ridly Scott film is still leagues ahead of most other's best.