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A24s The Death of Robin Hood Receives Mixed Early Reactions After New York Premiere
A24’s latest offering, The Death of Robin Hood, debuted at the New York Film Festival on June 12, 2026, and opened across U.S. theaters a week later on June 19. The 123‑minute thriller, penned and helmed by Michael Sarnoski, reinterprets the legendary outlaw as a weary veteran who believes his final fight has just begun.
The film follows the aging Robin Hood, portrayed by Hugh Jackman, as he is taken in by a mysterious woman who offers him a chance at redemption. The supporting cast—Jodie Comer, Bill Skarsgård as Little John, Murray Bartlett, Noah Jupe and Faith Delaney—adds depth to a story that oscillates between brutal action and quiet introspection. Producers Aaron Ryder, Andrew Swett and Alexander Black guided the project, while Pat Scola’s cinematography frames each scene with a painterly intensity.
Initial buzz on social media and in the press has been largely favorable, yet critics note uneven pacing and an uneven narrative arc. JoBlo.com called the film a “brutal and unique take” that should resonate with fans of The Northman and Logan. Next Best Picture highlighted Jackman’s “raw intensity” and the movie’s “bleak” tone, observing that the first third is “action‑heavy” while the remainder becomes a “somber character study.” Variety described the work as “bold & brutal,” commending the performances of Jackman, Comer and Skarsgård. The Hollywood Show praised the film as “ferociously epic,” spotlighting its “visceral” action and “super transfixing” cinematography. Darren Movie Reviews compared it to Logan, noting that it “forgoes the traditional action film” in favor of a “character‑driven story” that interrogates the violence inherent in Robin Hood’s legend. Bite Size Break offered a more critical perspective, labeling the film “long and arduous” and suggesting that its “vague and disconnected story” hampers its impact.
Other reviewers offered a blend of commendation and critique. Bill Bria called it “one of the best films of 2026,” while Josh Parham underscored its “introspective examination of cyclical traumas.” Brandon Lewis described the narrative as “unfolding in reverse” and praised Jackman’s “weary, grounded” performance. Meagan Navarro likened the film to A Quiet Place: Day One, calling it “intense and profoundly moving.” Cole Groth and Gavin Spoors were positive overall, though Groth noted a “slow pace” and Spoors expressed uncertainty about the ending.
The film’s tone and visual style frequently appear as its strongest assets. Scola’s work is often described as “exhilarative & painterly,” while the production design has earned praise for creating a world “far removed from any traditional Robin Hood adaptation.” Action sequences are noted for their brutal realism, with a “muddy” aesthetic that reinforces the grim atmosphere.
Industry observers point to The Death of Robin Hood as a continuation of A24’s commitment to distinctive, arthouse‑oriented cinema. The studio’s catalog—featuring Everything Everywhere All at Once and The Witch—has earned a reputation for supporting films that defy conventional genre expectations.
Sarnoski, whose previous work includes Pig (2021) and A Quiet Place: Day One (2024), has described the film as a “dark adaptation of the 17th‑century ballad Robin Hood’s Death.” The focus on mortality, vengeance and redemption signals a departure from earlier, more heroic portrayals of the outlaw.
The Death of Robin Hood will continue its theatrical run across the United States from June 19, 2026, and will also appear at the 73rd Sydney Film Festival on June 12. The film’s early reception suggests it will attract viewers who appreciate character‑driven, visually striking dramas, though its pacing and narrative structure may split audiences.
As the release window draws closer, analysts will track box‑office returns and audience feedback, especially in comparison to other A24 titles and mainstream folklore adaptations. The performance of this film could shape future projects that aim to merge traditional legends with contemporary, gritty storytelling.
The film follows the aging Robin Hood, portrayed by Hugh Jackman, as he is taken in by a mysterious woman who offers him a chance at redemption. The supporting cast—Jodie Comer, Bill Skarsgård as Little John, Murray Bartlett, Noah Jupe and Faith Delaney—adds depth to a story that oscillates between brutal action and quiet introspection. Producers Aaron Ryder, Andrew Swett and Alexander Black guided the project, while Pat Scola’s cinematography frames each scene with a painterly intensity.
Initial buzz on social media and in the press has been largely favorable, yet critics note uneven pacing and an uneven narrative arc. JoBlo.com called the film a “brutal and unique take” that should resonate with fans of The Northman and Logan. Next Best Picture highlighted Jackman’s “raw intensity” and the movie’s “bleak” tone, observing that the first third is “action‑heavy” while the remainder becomes a “somber character study.” Variety described the work as “bold & brutal,” commending the performances of Jackman, Comer and Skarsgård. The Hollywood Show praised the film as “ferociously epic,” spotlighting its “visceral” action and “super transfixing” cinematography. Darren Movie Reviews compared it to Logan, noting that it “forgoes the traditional action film” in favor of a “character‑driven story” that interrogates the violence inherent in Robin Hood’s legend. Bite Size Break offered a more critical perspective, labeling the film “long and arduous” and suggesting that its “vague and disconnected story” hampers its impact.
Other reviewers offered a blend of commendation and critique. Bill Bria called it “one of the best films of 2026,” while Josh Parham underscored its “introspective examination of cyclical traumas.” Brandon Lewis described the narrative as “unfolding in reverse” and praised Jackman’s “weary, grounded” performance. Meagan Navarro likened the film to A Quiet Place: Day One, calling it “intense and profoundly moving.” Cole Groth and Gavin Spoors were positive overall, though Groth noted a “slow pace” and Spoors expressed uncertainty about the ending.
The film’s tone and visual style frequently appear as its strongest assets. Scola’s work is often described as “exhilarative & painterly,” while the production design has earned praise for creating a world “far removed from any traditional Robin Hood adaptation.” Action sequences are noted for their brutal realism, with a “muddy” aesthetic that reinforces the grim atmosphere.
Industry observers point to The Death of Robin Hood as a continuation of A24’s commitment to distinctive, arthouse‑oriented cinema. The studio’s catalog—featuring Everything Everywhere All at Once and The Witch—has earned a reputation for supporting films that defy conventional genre expectations.
Sarnoski, whose previous work includes Pig (2021) and A Quiet Place: Day One (2024), has described the film as a “dark adaptation of the 17th‑century ballad Robin Hood’s Death.” The focus on mortality, vengeance and redemption signals a departure from earlier, more heroic portrayals of the outlaw.
The Death of Robin Hood will continue its theatrical run across the United States from June 19, 2026, and will also appear at the 73rd Sydney Film Festival on June 12. The film’s early reception suggests it will attract viewers who appreciate character‑driven, visually striking dramas, though its pacing and narrative structure may split audiences.
As the release window draws closer, analysts will track box‑office returns and audience feedback, especially in comparison to other A24 titles and mainstream folklore adaptations. The performance of this film could shape future projects that aim to merge traditional legends with contemporary, gritty storytelling.
