Robin Hood review: MGM+’s reimagining eventually finds its target with Sean Bean as Sheriff

Robin Hood has been retold across countless mediums, most recently in Disney’s family-friendly adventure Robin and the Hoods. Now, John Glenn and Jonathan English have reimagined the tale as an origin story with psychological depth and mythological and historical undertones — a portrait of a man fighting for justice under oppressive rule in MGM +'s Robin Hood.

Stripped of their lands and ancestral homes, the Saxons struggle to adjust to their new status as outlaws after the Norman conquest of the Middle Ages. Their usurpers sit comfortably in their manors, while Rob (Jack Patten) and his parents, Joan (Anastasia Griffin) and Hugh (Tom Mison), are turned out of their home and into a modest hut in the forest.

The series begins in Rob’s childhood, when the Normans first seize power, exploring the devastating effect this has — particularly on his father. Robbed of his title, position, and home, Hugh’s dangerous rage puts the family at risk, as his wife tries to temper his fury for the sake of survival.

Driven by pride and ego, the opening episode dissects Hugh’s shortcomings as a man forced to kneel before a king and authority he does not recognise — a conflict Rob will later inherit.

Most crucially, Hugh introduces his son to the bow and teaches him to control his emotions in order to always hit his mark. Rob’s relationship with his father is pivotal to this adaptation, and it’s a testament to Mison’s performance that the full weight of that bond — and its undoing — lands within the first hour. His father’s death becomes a powerful motivator, shaking Rob from his submissive slumber and igniting the rebellion that defines him.

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Heavily influenced by Vikings (and, at times, Game of Thrones), this is unmistakably an adult watch. Graphic sex scenes, power plays, and gruesome tableaus are framed to haunting effect, illustrating the depth of devastation caused by invasion. Justice and equality are now hollow ideals, twisted by the Normans to serve their own ends and exploit honour as a weakness.

The Saxons’ one hope – and a strange supernatural force – lies in their connection to the forest and the faerie Godda (Jelena Gavrilović), said to dwell within and protect her devoted followers. Prayers are whispered like spells on the wind, strengthening the hearts of believers who cling to the hope that something – or someone – will save them from the evil that has claimed their lands.

It’s a fraught, richly grounded story that feels both historical and eerily relevant to the present day, where mass displacement, loss of land, and the manipulation of power are ongoing realities. The anger towards conquerors – those who rewrite history and reshape culture and faith – is easy to understand.

That sense of enormity carries through to the series’ production. Compared with earlier adaptations, such as the BBC’s 2006 version, this Robin Hood is vast in scale. Backed by Amazon and MGM’s budget, the 10-part series unfolds across expansive real and CGI-enhanced sets, from the forests and Nottingham to London and the royal palace.

Dramatic licence is balanced with medieval realism, creating an immersive take on the legend that truly finds its footing in the second episode. After an exposition-heavy opener that establishes tone and historical context, the story gains momentum as Rob’s revolution begins to take shape.

A welcome addition is the influx of women in this world. Marian (Lauren McQueen) is far more than Rob’s love interest — she’s a woman reckoning with her abusive upbringing, complete with her own ambitions and convictions. Told almost as a Romeo and Juliet-style romance between two people from opposing worlds, Rob and Marian sit at the emotional heart of this retelling.

After a fleeting childhood encounter — when Marian, frog-hunting in the forest, meets Rob — the truth of her father’s sins begins to surface. Huntington (Steven Waddington) is a cruel, calculating presence who stops short of pantomime villainy, but his blind malice starkly contrasts with the story’s traditional antihero: the Sheriff of Nottingham (Sean Bean).

Bean excels as the conflicted Sheriff, given more depth than ever before – a man burdened by the power he wields as judge, jury, and executioner. He’s humanised, tormented by the constant state of war around and within him, as it becomes clear that peace is an impossible dream. The cast balances seasoned talent – Bean, Waddington and Connie Nielsen as the formidable Queen Elena – with rising stars like Patten, McQueen and Lydia Peckham, who all leave lasting impressions.

Priscilla (Peckham), the Sheriff’s daughter, is another dynamic addition – a woman who wields her sexuality as a weapon of control, initially over the Captain of the Guard. Defiant and sharp-willed, she adds a compelling shade of villainy and serves as a foil to the initially meek Marian, who gradually finds her voice and purpose as an informant to the rebellion.

Across 10 hours of action, shifting allegiances and reimagined legend, Robin Hood delivers the familiar beats with fresh grit and emotional resonance. Will it be the definitive version? Perhaps not. But it carries a surprising weight, heart and ambition – a series that rivals even the most acclaimed historical dramas. A must-watch for fans of the lore and the genre alike, and a timely tale of defiance against those who seek to oppress, censor or erase.

Robin Hood arrives on MGM+ on Sunday 2nd November 2025.

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