After the capture of the Crusader Robin of Loxley, he was quickly released from prison in Jerusalem with the help of a colleague of a Moroccan prisoner named Azeem. After his departure, Rubin traveled to Awesome to England, but discovered that his father had died in the rubble of his family's house in mysterious circumstances. He was killed by Sheriff, a policeman from Nottingham. Robin and Azeem start cooperating with the outlaws Little John and Will Scarlett to save the kingdom from the next danger and take revenge on his father's killers.
It's a slick and sassy attempt to get mileage from a dependable vehicle by wrapping it in as many sure-fire gimmicks as the filmmakers can cram onto the screen.
While the makers of Robin Hood: Prince of Thieves may have set out to bury the poor old duffer of Sherwood Forest in a welter of trendy banter, they have ended up burying themselves as well.
With a strange mix of varying English and American accents and the weight of a film with too many subplots, Robin Hood strains credibility. It also feels long.
Its ostensibly canny match of star and subject assures that Robin Hood: Prince of Thieves will fill theaters. But will it send moviegoers out enthralled? The message from this cracked crystal ball is: Naaah.
Buckles are truly swashed and derring-do effectively done in this 12th-century adventure, which simply sets out to entertain handsomely and does so with a great deal of dash, flash and panache.
This is a big, colorful, sharp-witted and beautifully photographed rendering of the tale of the olde English guerrilla fighter -- two solidly entertaining hours.
Chicago Tribune
April 25, 2014
Robin Hood: Prince of Thieves is an entertainment without a particular point of view.
