The Death of Robin Hood is the 2026 historical thriller written and directed by Michael Sarnoski — the filmmaker behind Pig and A Quiet Place: Day One — and distributed by A24. Adapted from the centuries-old English ballad "Robin Hood's Death," it stars Hugh Jackman as an aged, weathered, blood-soaked version of the outlaw at the end of his life, with Jodie Comer as the mysterious woman who takes him in after he's gravely wounded, alongside Bill Skarsgård, Murray Bartlett, and Noah Jupe. The tagline tells you everything about the tone: "He Was No Hero." This is not the merry-men, steal-from-the-rich folk tale you grew up with — it's a grim, grounded reckoning with the man behind the myth, and despite a couple of reservations, it won me over.Going in, I'll admit I didn't even know this film existed, which made the experience something of a discovery. What I found was a deliberately dark deconstruction — Robin recast as a vicious killer with half of England holding a vendetta against him, forced to confront his mortality and the gap between the legend and the reality. It's been compared to a Robin Hood version of Unforgiven, and that's a fair shorthand. I'd also note that my enjoyment was meaningfully heightened by watching it with company; this is a film that benefits from a shared reaction, the kind where you want someone beside you to process the bigger moments with.The film's standout quality is its visual craft. Shot across Northern Ireland, the landscapes are stunning, and every time the camera pulled back to take in the scenery I found myself momentarily distracted by how beautiful it all looked. Beyond the vistas, the colour palette in certain scenes genuinely caught my eye — there's a real intentionality to the cinematography that elevates the entire production and gives it a striking, painterly quality throughout.My one significant criticism lands on Hugh Jackman's accent. Throughout the film, his accent wavered noticeably, slipping in and out and frequently drifting back toward his native Australian. This is a well-documented Jackman tendency across his career, and it's distracting here in exactly the way you'd expect — the immersion of a weathered medieval outlaw is repeatedly undercut when the voice wanders off. At a certain point I found myself wishing they'd simply leaned into his natural accent rather than fighting a losing battle with it.The most important thing I can tell you about this film, though, is that it is unmistakably a love-it-or-hate-it proposition. There is no comfortable middle ground here. Sarnoski's slow, sombre, myth-dismantling approach is going to land powerfully for some viewers and frustrate others entirely, and the divided critical response reflects exactly that. I'm pleased to report I fall firmly in the camp that enjoyed it — the atmosphere, the visuals, and the bold reinterpretation worked for me, even with its imperfections.