I remember seeing the first Robin Hood trailer earlier this year and laughing at its over-the-top, full-tilt, pseudo-Guy Ritchie action stylings—particularly one signature shot of leading man Taron Edgerton (as Hood) firing a no-look shot at a wooden target with posture so absurd that it might only make sense in a Frank Frazetta painting. Look, I'm not one to be too picky about posture and craft in movies, especially in the action genre—Jeremy Renner's Hawkeye in the MCU doesn't exactly have the fundamentals of archery down-pat, and it's never bothered me. But the gratuitous nature of this scene, in which it's clear that Edgerton's brutal, muscular draw-and-release of his bowstring was clearly intended as the focal point and visual spice of the shot, indicated to me that we were in for a retelling of the classic public domain character that would give exactly
Robin Hood
Robin Hood
Robin Hood
I remember seeing the first Robin Hood trailer earlier this year and laughing at its over-the-top, full-tilt, pseudo-Guy Ritchie action stylings—particularly one signature shot of leading man Taron Edgerton (as Hood) firing a no-look shot at a wooden target with posture so absurd that it might only make sense in a Frank Frazetta painting. Look, I'm not one to be too picky about posture and craft in movies, especially in the action genre—Jeremy Renner's Hawkeye in the MCU doesn't exactly have the fundamentals of archery down-pat, and it's never bothered me. But the gratuitous nature of this scene, in which it's clear that Edgerton's brutal, muscular draw-and-release of his bowstring was clearly intended as the focal point and visual spice of the shot, indicated to me that we were in for a retelling of the classic public domain character that would give exactly