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Robin Hood: Prince of Thieves poster

Robin Hood: Prince of Thieves

year 1991decade 90sdirector Kevin Reynoldsgenre Adventure

143 minutes

Cast

Selected cast credits · Film reference

Kevin Costner Robin of Locksley
Christian Slater Will Scarlett
Alan Rickman Sheriff of Nottingham
Geraldine McEwan Mortianna
Michael McShane Friar Tuck
Brian Blessed Lord Locksley
Michael Wincott Guy of Gisborne
Nick Brimble Little John
Soo Drouet Fanny
Jack Wild Much
Michael Goldie Kenneth
Liam Halligan Peter Dubois
Marc Zuber Interrogator
Sean Connery King Richard (uncredited)
Imogen Bain Sarah, Marian’s lady-in-waiting

Robin Hood: Prince of Thieves | The Rewatchables

host Bill Simmonshost Chris Ryanhost Van Lathanproducer Craig Horlbeck theme Wait, This Movie Made How Much Money?
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The Stephen A. Smith Hottest Take Award

Sheriff’s cousin killing; Azeem should lead; Game of Thrones comparison; Omar as Robin Hood

In the discussion (5)
Approx. transcript time · 00:19:00Read transcript
  • An early hot take argues The Wire's Omar better realizes the Robin Hood idea, with preference for more robbery and redistribution rather than backstory.
  • The sheriff killing his own cousin is criticized as destroying trust and removing his own muscle, framed as more an observation than a hot take.
  • Azeem is proposed as the person who should lead because of his technology and medical competence.
  • A hot take compares Game of Thrones with this film's forest journeys, kidnappings and sardonic villain; Omar is again called the best Robin Hood.
  • An urban Robin Hood adaptation in Chicago or Baton Rouge is proposed.

Half-Assed Internet Research

Rushed production; star-protecting edits; extended footage; medieval songs; horse injury; arrow photography; VHS cuts; Arsenal claim; historical-language argument

In the discussion (10)
Approx. transcript time · 00:20:59Read transcript
  • The rushed production reportedly allowed ten weeks of preparation and Costner only three days before shooting, with recasting, aircraft noise and approaching wet weather increasing pressure.
  • Reported test screenings favored Rickman so strongly that producers removed material and shut Reynolds out of editing; the extended cut retains additional sheriff-and-witch scenes.
  • The supposed need to protect Costner's star position is contrasted with later acceptance of Ledger dominating The Dark Knight and with Willis successfully sharing Die Hard with Rickman.
  • The special edition reportedly contains twelve additional minutes.
  • The characters’ songs reportedly use actual medieval melodies.
  • Costner’s horse reportedly broke his nose.
  • The arrow shot reportedly used 300 framespersecond rather than the normal 24.
  • Some VHS releases reportedly shortened the attempted rape after complaints.
  • A claim that Costner became an Arsenal supporter during filming is mentioned with skepticism.
  • A quoted Reddit argument says medieval nobles and commoners would not sound like modern English speakers, offered as an accidental defense of Costner; the counterpoint is that his inconsistency was not a deliberate historical choice.

Roger Ebert's review

In the discussion (1)
Approx. transcript time · 00:36:43Read transcript
  • Ebert gave two stars and criticized the film as murky, violent and lacking the legend's magic; a later column condemned its rushed production.

Most Rewatchable Scene

Hanging rescue; Little John staff fight

In the discussion (11)
Approx. transcript time · 00:38:43Read transcript
  • The opening escape is nominated for its energy, extravagant hair and immediately inconsistent accents.
  • Robin saving a child is an early scene candidate.
  • The staff fight that wins over Little John is a favorite scene.
  • Robin's arrow near Will's hand and motivational speech are nominated partly for the shifting accents.
  • The sheriff's cancel-Christmas outburst is nominated for Rickman's extravagant comic delivery.
  • The final rescue, wedding disruption and sword fight are strongly favored as an exciting final stretch, contrasted with a slower first two-thirds.
  • The battle-planning model is praised for making the eventual action geography understandable.
  • The attack on the forest village is nominated, including the reversal when fire arrives after an apparent victory.
  • Marian watching Robin bathe is another scene candidate, emphasizing her attraction.
  • Connery's surprise ending cameo is praised as ideal kingly star casting that justifies the characters' loyalty to Richard.
  • The hanging rescue is the final scene choice with repeated agreement, while the Little John staff fight is also named a personal favorite; obstacles complicating the rescue shot are praised.

What’s Aged the Best?

Kamen score; medieval setting; archery; wigs; Men in Tights; physical filmmaking; Morgan Creek; matched fights; Little John’s respect; preparation montage; horseback Costner; redistribution; hometown introductions; dialogue; catapult

In the discussion (19)
Approx. transcript time · 00:39:41Read transcript
  • Stars in exaggerated wigs and beards are an aged-best observation, prompting an extended Hard to Kill comparison.
  • Michael Kamen's memorable theme is an aged-best choice.
  • The dirty, damaged-looking medieval surroundings are praised, contrasting with Marian's clean, beautiful appearance.
  • Bow-and-arrow action is praised.
  • Stars in obviously artificial wigs and beards are praised.
  • Men in Tights is praised as a response to this film and explicitly proposed as a double feature.
  • The sheriff's spoon threat and scheduling two women are praised as reportedly improvised lines.
  • Physical outdoor filmmaking despite imperfect effects is praised, including Costner actually wet on the beach rather than a wholly digital setting.
  • Morgan Creek’s run is praised through Young Guns, Major League, Young Guns II, The Exorcist III, Pacific Heights, Robin Hood, Freejack, The Last of the Mohicans, True Romance, Ace Ventura and Major League II; the titles form an unranked list.
  • The final matched confrontations—Azeem and witch, Friar Tuck and bishop, Robin and sheriff—are praised for symmetry.
  • Little John accepting Robin as leader after losing the fight is praised as a welcome respect-based friendship dynamic.
  • Preparing weapons, traps and the elaborate forest hideout are praised as satisfying training-and-building montage material.
  • Costner riding horses is an aged-best choice, linked to his recurring screen persona.
  • Robbing the rich is an aged-best choice.
  • Introducing people by first name and hometown is praised, inspiring playful podcast equivalents.
  • The statement that nobility is defined by actions rather than birth is praised.
  • The brothers reveal is considered both good and bad because of Costner’s delivery.
  • Azeem’s comparison of English hospitality with the weather is praised.
  • The catapult launch over the wall is praised as enjoyable old-school effects, with a wish for more swashbuckling action.

The Butch’s Girlfriend Award for the Weakest Link in the Film

Kevin Costner; Will Scarlet (late alternative)

In the discussion (2)
Approx. transcript time · 00:56:35Read transcript
  • Costner is the weak link, particularly the accent, made more obvious by Connery's arrival; his other difficult accents are compared.
  • Will withholding the brother revelation while undermining the group is criticized as contrived and obstructive; he is proposed as another weak link.

What’s Aged the Worst?

Attempted rape; Costner’s hair/accent/double; Little John’s wife (disputed); competing adaptation; wasted Slater; communication delays

In the discussion (7)
Approx. transcript time · 00:57:59Read transcript
  • The sheriff's attempted rape of Marian is judged badly aged, especially its comic staging and length in a PG-13 adventure; the intended bloodline motivation does not excuse the tonal problem.
  • Costner's hair and appearance are criticized; reports of disagreement over whether to use an accent are offered to explain its inconsistency.
  • The nude swimming double is discussed as visibly different, with cold-water protection reported as the reason and additional joking speculation.
  • A wish for a more attractive Little John's wife is challenged by the medieval forest setting and her many children; LeBrock and Helen Mirren are hypothetical alternatives.
  • The competing Robin Hood film is an aged-worst observation, with its reported gross contrasted with this hit.
  • Slater is considered wasted as a resentful Will Scarlet; his charming ad-lib at the end suggests a livelier role, while his career stage offers a possible reason for accepting it.
  • The lack of communication before Robin returns to discover his father's death is joked about as life before postal service.

Casting What-Ifs

Gibson; Wright; Kidman; Kensit; Hurley; Grant; Cleese; Connery; disputed Elwes and Depp reports

In the discussion (9)
Approx. transcript time · 01:07:03Read transcript
  • Mel Gibson reportedly declined Robin after Hamlet.
  • Robin Wright reportedly withdrew from Marian because of pregnancy and was replaced by Mastrantonio.
  • Nicole Kidman is a reported Marian possibility.
  • Patsy Kensit is a reported Marian possibility.
  • Elizabeth Hurley is a reported Marian possibility.
  • Richard E. Grant reportedly could not play the sheriff because of Hudson Hawk.
  • The claim that Cary Elwes declined Robin is explicitly doubted.
  • The claim that Johnny Depp declined Will Scarlet is explicitly doubted, though he is imagined as a better choice.
  • John Cleese was reportedly proposed as King Richard before Costner pushed for Connery, whose fee was described as reduced to a charitable donation.

Recasting Couch

Greta Scacchi as Marian; Val Kilmer or Hugh Grant as Robin

In the discussion (3)
Approx. transcript time · 01:10:12Read transcript
  • Greta Scacchi is proposed as Marian.
  • Val Kilmer is proposed as Robin for greater accent commitment, with objections that his striking looks and method approach might be excessive.
  • Hugh Grant is proposed for Robin's privileged arrogance and ability to face Rickman, but the group doubts the movie would have been a comparable hit without Costner's star power.

Apex Mountain

Bows and arrows; Costner’s 1991 period (qualified)

In the discussion (3)
Approx. transcript time · 01:14:49Read transcript
  • Archery and movie bows-and-arrows are proposed for Apex, with The Hunger Games raised as an alternative.
  • Rickman is proposed for Apex, with Die Hard raised as the competing peak and no clear resolution.
  • Costner’s 1991 period is affirmed as a peak by one view, while another locates the defining Apex in the earlier Dances with Wolves Oscar triumph.

Picking Nits

Marian’s royal blood; delayed brother reveal; Azeem’s family; shallow river; Azeem’s absence

In the discussion (5)
Approx. transcript time · 01:17:12Read transcript
  • The sheriff's fixation on Marian is questioned and explained through royal blood and her availability outside court.
  • Will withholding the brother revelation while undermining the group is criticized as contrived and obstructive; he is proposed as another weak link.
  • Azeem apparently both loving a family at home and having none to return to is flagged as a possible contradiction, followed by a joking secret-brother theory.
  • Little John not knowing his own river is shallow enough to stand in is considered implausible.
  • Azeem disappearing for a long stretch after the childbirth scene is questioned given Freeman's billing.

Sequel, Prequel, Limited Series, or All-Black Remake

Urban all-Black Robin Hood; Nottingham; Marian erotic spin-off joke

In the discussion (3)
Approx. transcript time · 01:20:37Read transcript
  • An all-Black urban Robin Hood facing corrupt police is proposed; The Wire and the Equalizer films are discussed as partial analogues rather than exact adaptations.
  • The unmade Nottingham screenplay, reportedly centered on a heroic sheriff, is preferred as an alternative adaptation before Scott turned it into a conventional Robin Hood film.
  • A Marian-centered erotic spin-off is proposed jokingly, extending the bathing-scene discussion.

Probably Unanswerable Questions

Game of Thrones date joke; hometown introductions; first explosion

In the discussion (2)
Approx. transcript time · 01:24:20Read transcript
  • A joking question places Game of Thrones in the 1100 s, corrected by noting it is not set on Earth; first-name-and-hometown introductions are revisited.
  • Whether the English characters have ever seen an explosion is questioned, emphasizing the contrast between prejudice toward Azeem and his greater scientific knowledge.

What Piece of Memorabilia Would You Want From This Movie?

Flaming arrow and quiver; cult mask; jewelry; Azeem’s scimitar; Robin’s father’s sword

In the discussion (5)
Approx. transcript time · 01:25:47Read transcript
  • The screen-used flaming arrow and quiver are memorabilia choices.
  • The pagan cult mask is a memorabilia choice.
  • A necklace or other jewelry is another memorabilia possibility.
  • Azeem’s scimitar is a memorabilia choice.
  • The returned sword is a memorabilia choice, corrected from King Richard’s to Robin’s father’s.

Producer review

Enjoyable by the end; too long; hero least interesting

In the discussion (1)
Approx. transcript time · 01:27:30Read transcript
  • The producer initially finds Robin Hood corny and the opening like a classroom screening, but enjoys the film by the end; it is too long and might work better as comedy, with the title hero the least interesting part.

More from the conversation

This is explicitly the first film in Wait, This Movie Made How Much Money? month, introduced through its reported $48 million budget, roughly $390 million worldwide gross and second-place1991 finish.
Approx. transcript time · 00:02:12Read transcript
The film is recalled as a large cultural event through MTV, posters, merchandise and Bryan Adams's hit song despite critical reservations.
Approx. transcript time · 00:03:31Read transcript
The star power, memorable sequences and tangible location work are praised, including English castles, Hadrian's Wall, horses and archery; the committed physical craft is contrasted with contemporary blockbusters.
Approx. transcript time · 00:04:19Read transcript
Competing Robin Hood productions are discussed as a reason this one was rushed, leading to a hypothetical theme about competing films and a preference for the Crudup Prefontaine film.
Approx. transcript time · 00:06:12Read transcript
Costner is identified as the film's central flaw: his peak-star schedule left little preparation, and the inconsistent accent and hurried training become enjoyable unintentional comedy.
Approx. transcript time · 00:06:54Read transcript
Costner's willingness to gamble his success on ambitious projects is discussed through Waterworld, Wyatt Earp and Horizon, alongside a cutting Kasdan remark about his self-reliance.
Approx. transcript time · 00:08:30Read transcript
The film's romance, famous song, oversized villain and lovers surviving chaos are compared with elements later used by Titanic, with Game of Thrones also mentioned.
Approx. transcript time · 00:09:08Read transcript
Contemporary magazine reporting is recalled as unusually candid about Reynolds being shut out of editing and estranged from Costner before release.
Approx. transcript time · 00:10:16Read transcript
Personal excitement during a Robin Hood reading phase is recalled; later adaptations are considered less successful at capturing comparable interest.
Approx. transcript time · 00:10:50Read transcript
Repeated origin-story setup is criticized, with preference for simply watching Robin and his companions operate in Sherwood Forest.
Approx. transcript time · 00:12:06Read transcript
Repeated familiar origins are compared unfavorably with Batman parental-death scenes and music documentaries delaying the artist's success.
Approx. transcript time · 00:12:48Read transcript
Contemporary reviews are quoted as finding Costner out of place and outperformed by the supporting cast; Reynolds's explanation emphasizes exhaustion and inadequate preparation.
Approx. transcript time · 00:13:14Read transcript
Costner's Robin is read as a Field of Dreams-like decent man mixed inconsistently with a rebellious rogue, surrounded by heroic and sexualized star imagery rather than a settled characterization.
Approx. transcript time · 00:14:37Read transcript
Stars relying on charm or accepting irresistible iconic roles are discussed through Hancock, Air Force One, War of the Worlds and The Legend of Bagger Vance, with disagreement over Cruise's effectiveness.
Approx. transcript time · 00:16:31Read transcript
The redistribution concept is considered more famous than Robin's personality; the film describes an arrogant earlier Robin but never shows the transformation because he begins selflessly and remains an underdog.
Approx. transcript time · 00:19:44Read transcript
Die Hard and this film are considered enough to establish Rickman among great screen villains, likened to two championship wins.
Approx. transcript time · 00:24:35Read transcript
Rickman's extravagant comic villain and Costner's earnest hero are described as inhabiting different films, helped by limited shared scenes; Rickman reportedly enlisted friends to improve his dialogue.
Approx. transcript time · 00:25:01Read transcript
The theme's rationale is clarified as enjoyable commercial films whose earnings exceeded expectations; Robin Hood's dominance over other1991hits is contrasted with the still-larger T2.
Approx. transcript time · 00:26:54Read transcript
The arrow-mounted camera and flaming-arrow advertising shots are remembered as major drivers of anticipation.
Approx. transcript time · 00:27:58Read transcript
Freeman's Azeem is praised as a substantial, unusually commercial pre-Shawshank role despite an odd accent; seeing a Moor represented prompted personal curiosity about the history.
Approx. transcript time · 00:29:45Read transcript
Freeman reportedly encountered the Unforgiven project during this production and approached Eastwood about Ned.
Approx. transcript time · 00:31:05Read transcript
Azeem's life-debt relationship provides humor as he lets Robin struggle before helping; the childbirth scene's rapid resolution of racial hostility is joked about.
Approx. transcript time · 00:31:31Read transcript
Azeem's competence and equipment are praised, leading into Freeman's1990s run and the growing sense that his presence signaled quality, while his feelings about this production remain unknown.
Approx. transcript time · 00:32:06Read transcript
Freeman's age of54 at release and late rise are found inspiring, with earlier theater, The Electric Company and his1989film run acknowledged rather than treating this as his debut.
Approx. transcript time · 00:33:48Read transcript
Everything I Do is recalled as an Oscar nominee, Grammy winner and inescapable hit used at weddings and in background music.
Approx. transcript time · 00:35:01Read transcript
The later Three Musketeers collaboration All for Love with Adams, Sting and Rod Stewart is considered an unsuccessful attempt to repeat the formula.
Approx. transcript time · 00:36:10Read transcript
The release-date-first production approach is compared with later superhero filmmaking.
Approx. transcript time · 00:37:20Read transcript
Heaven's Prisoners and other Louisiana-set films inspire a hypothetical Louisiana month, not a current-episode theme.
Approx. transcript time · 00:57:17Read transcript
The Untouchables is proposed as the point where Costner found his movie-star persona, with No Way Out's timing briefly questioned.
Approx. transcript time · 01:12:01Read transcript
Reynolds and Costner reuniting for Waterworld is recalled, followed by appreciation for Tin Cup, The Postman and Wyatt Earp despite uneven reputations.
Approx. transcript time · 01:16:40Read transcript
The Robinhood investment app eclipsing the character for a younger viewer prompts discussion of cultural figures and television properties losing familiarity over generations.
Approx. transcript time · 01:28:44Read transcript
Costner's failure to fit an iconic role prompts a hypothetical comparison with Chalamet in Wonka, redirected to Dune as the closer test and praised as successful there.
Approx. transcript time · 01:30:52Read transcript
The closing explicitly credits Craig Horlbeck and repeats the current box-office-surprise theme month.
Approx. transcript time · 01:31:33Read transcript