Outlaw King

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)

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)

100 minutes of alternating epic, bloody and generously designed scenes and dialogues, which are simply a bit of cheesy historical TV series. Mackenzie aspires to the dark medieval carnation, which he thrives on in luxury crowd scenes and some quadratures of Scots, but other times he uses superficial adornments and Gaelic kitsch. Nevertheless, I like Pine a lot. He's not an exaggerated macho caricature, but rather a guy who has been going after what he wants in a calm and steadfastness manner for some time. It may seem strange to some people that this is the leader people follow - I understand them. I would follow him, too. Btw, Aaron Taylor-Johnson seems to have a taste for raw beef for the first time in his career. (10/11/2018)

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% (12/11/2018)

In 2008, Netflix proved that it is also able of producing high-budget period blockbusters with good actors and a skilled director. One such proof is Outlaw King, which more or less picks up where Braveheart left off. Even though I had some trouble to understand who is who in the beginning, it wasn’t that difficult after all. The Scots were fighting for their independence, and Chris Pine proved that the older he gets, the better the performances he delivers. A great movie! Outlaw King might be the best period movie of 2018. Some scenes are borderline genius. (31/12/2018)