| A24 | Release Date: June 19, 2026 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
18
Mixed:
15
Negative:
2
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Critic Reviews
Screen RantJun 19, 2026
It's a strong third film by Michael Sarnoski, even if it has some shaggy edges that could have been improved. Filmed with a moody sense of atmosphere and bolstered by strong performances, The Death of Robin Hood has terrific depth and thematic richness that keeps the movie from ever feeling too downbeat to stop being compelling.
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Jun 18, 2026
It is the sort of film to which you want to apply the word “visionary,” which is to say that it’s clear the filmmaker had a vision and stuck to it admirably. Nothing in the movie is easy or comforting. Little about it even feels like a gesture toward those enamored of other Robin Hood tales.
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The GuardianJun 16, 2026
For a slow – and often ponderously uneventful – film, the ending also feels strangely rushed, decisions and reveals not explored enough for them to really land in the way that’s clearly intended (there’s a potentially more satisfying psychological thriller using the same ingredients). There’s really impressive craft here though.
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Jun 11, 2026
Jackman, no slouch when it comes to playing men reckoning with the trail of dead they’ve left in their wake, is a godsend in the title role. Much like Cage’s sheer unpredictability elevated every moment of Pig, so, too, does Jackman’s eternally sturdy on-screen presence, even if his calm is meant to underline barely contained bloodlust, keep this version of Robin from becoming just another outlaw staring down fate.
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Next Best PictureJun 11, 2026
[Sarnoski's] greatest accomplishment is crafting beautifully intimate portraits of these earnest subjects, set within aesthetically pleasing arenas that highlight impressive craft and alluring performances. It’s an inventive take on Robin Hood to strip away the merry men, nasty sheriffs, and pining love interests. This presentation is much more somber, yet in a way that conveys a far greater significance. It’s what turns what could have been a needless adaptation into a profound experience.
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The PlaylistJun 11, 2026
It’s easy enough to admire the evident technical merits, yes, but difficult to find any element that invites a viewer into the specific, soulful experience of the characters. As The Death of Robin Hood circles the obvious ending, the main point of reflection it invites is the missed opportunity to flesh out this world with a level of detail on par with its ambitions.
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Jun 11, 2026
This “Robin Hood” transitions into contemplative, philosophical registers while never slacking in suspense. It is, at its core, a redemption story, simple in persuasive ways yet richly complicated by difficult personalities and atrocious revelations. Coincidences that would seem narratively convenient in lesser narratives are imbued with a classical feeling of fate.
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SlashfilmJun 11, 2026
As The Death of Robin Hood crawled towards its inevitable conclusion, I found myself growing wistful, though I can't quite say why. It wasn't that I felt a particular emotional connection to any of the characters. It was more that the narrative was so abundant with feelings of regret and loss that it drilled down into my chest and brought out a vague sense of pensive sadness.
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IndieWireJun 11, 2026
The Death of Robin Hood isn’t revisionist history — it’s a history of revisionism. One that fittingly creeps further into fiction with every claim it makes towards “the truth,” as Sarnoski’s ultra-austere effort to cut through a millennium of myths can’t help but create a hard-to-swallow fable of its own along the way.
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Jun 11, 2026
The Death of Robin Hood holds our attention for the sheer severity of its reinvention, the rooted, hessian-rough vividness of its ruined world, and its earnest, complex preoccupation with matters of the soul — a vanishingly rare virtue in the multiplex in general, let alone in the realm of endlessly repurposed IP.
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Jun 11, 2026
It’s all very atmospheric, including the frequent bloodlettings that Sister Brigid applies to Robin’s arm (the camera lingers lovingly on every spilled drop). But the dour, humorless proceedings never achieve the profundity they’re aiming for, and the revisionist take on Robin doesn’t prove very interesting or revelatory.
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Jun 11, 2026
The brooding pace and relative silence that characterize writer-director Michael Sarnoski’s The Death of Robin Hood is more evocative of his standout debut film Pig than it is his far more mainstream A Quiet Place: Day One, making this elegiac but brutal period piece his most niche and least accessible film yet. Still, its heady mix of mournful drama and murderous action certainly distinguish it from the litany of other Robin Hood films in existence.
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AwardsWatchJun 11, 2026
Robin Hood, at times, speaks about his popular persona and seems to be in direct conversation with the generations of stories that would surround his name hundreds of years into the future. It’s an interesting wrinkle, but one stamped out by the film’s more predictable dynamics: the world-weary savage, his unexpected young companion, and the path to breaking cycles of violence. These are foundational ideas that help make up the bedrock of similar mature fables. The Death of Robin Hood grounds them into dust with a brooding glare.
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