Outlaw King

Outlaw King offers nice set decorations and a praiseworthy introduction to a historical personality who was remarkable for his achievements (though overshadowed by his political predecessor, William Wallace), yet remains less well-known in the world of film. Containing all necessary mainstream attributes, it is satisfactory as a genre movie, but what prevented me from fully enjoying it was its predictability and lack of narrative originality, particularly without any personal contribution from the director. What I mean are scenes and moments that would distinguish this movie from a large number of similar films. I would appreciate such moments even more than the carnage of war. And something better than the very average soundtrack wouldn’t hurt anything. (17/11/2018)

A direct follow-up of the Braveheart, which is definitely more precise in terms of history, however not faithful, not even remotely. However, which does not matter in the genre move, not at all. It has only one major problem; it is too abbreviated in two-hour footage. In addition, in a way that strikes the eye or it start talking about many topics, but nothing more. Even, especially in the middle part, so much that I doubt that I would not blame the same for the twenty-minute longer version that was screened at festivals. Otherwise, it's a dirty historical chamber feature film (no, it's not as contradictory as it would seem), which follows the classic plot of “historical David versus Goliath", but it has an atmosphere, a beautiful set design and a camera (and it's not just about taking advantage of the Scottish Highlands or the introductory nine-minute one-shot scene), an uncompromising battle scene, a soundtrack connected by folk hackneyed songs and surprisingly good performances for such a butchery (perhaps only Edward is a way too excessive cartoon character). This includes Pine, where out of necessity the virtue “so that he doesn't have to speak much of a Scottish accent" is transformed into one of his strengths, because a quiet role based purely on charisma will surprisingly suit him. Outlaw King is exactly what it promised to be. It just had to be longer and therefore not so straightforward. Which, of course, wouldn't matter if it weren't clear from the final cut that the original ambitions were greater. (10/11/2018)

Everyone whose mouth waters over Game of Thrones should have a look at the final bloodbath in the marshes to see how it’s done properly. Pine is excellent with effortless acting and the romantic storyline with Florence Pough works well. A brutally realistic view of Scottish history in which every shot of London opens with William Wallace’s rotting head impaled on a stake. Fantastic camerawork and nice Scottish songs. P.S: Probably the first role in which I thought Aaron Taylor-Johnson was any good. DOUGLAAAS!!!! (27/04/2019)

David Mackenzie is awesome and after Hell or High Water he serves up the best historical film of the decade with the excellent Chris Pine improving film by film. Absolutely everything works here, the accurate history, the spectacular production design, the impressive costumes and sets (gorgeous castles), the naked queen is not missing, the impressive milking of emotions throughout the film, and most importantly, the spectacular battles where blood and bodies are certainly not spared. The scene with the horses is an absolute highlight of the genre and will probably make horse lovers cry. High praise also goes to Douglas, who steals most of the scenes for himself and is horrifically brutal in them. A wonderful and near-perfect film and experience, where my only regret is that I couldn't see it on the big screen. One of the best films of the year. After a second viewing the enthusiasm has waned slightly, but still good. 80% (13/11/2018)

More than an unofficial sequel to Braveheart, Robert the Bruce and his journey resemble a half-hearted remake. There are betrayals, loves, and magnificent battles here too, but while Mel Gibson unnecessarily deviated from historical realities, he was forgiven because with every twist he tore the viewer's heart apart. David Mackenzie holds onto history more firmly and adds more gritty combat, but I can't shake the feeling that it's all too superficial. The opening interaction doesn't work for me as an introduction to the plot, but rather as a teaser taking the form of a scene without cuts. The exposed intestines don't make a point about the horrors of war, but just come out of a person in all their nakedness; warm feelings arise between newlyweds in just a single cut. And Chris Pine, an eternal charmer and rascal at first sight, is only just maturing into the role of thoughtful ruler. In this case, the king is a brave and pleasantly uncompromising figure, but his battle songs desperately lack heart. (14/11/2018)