The Last of Robin Hood 2013

Lou Lumenick, New York Post: Dashing, handsome and self-deprecating, Kevin Kline was born to play Errol Flynn. Read more

Moira MacDonald, Seattle Times: The film becomes a showcase for Kline and Sarandon - and a reminder of how great actors can light up the screen, staying with you even as the rest of the film slips away. Read more

Peter Debruge, Variety: The script represents a too-tame middle ground, which gives the unfortunate impression that perhaps the filmmakers want us to empathize with this icky romance. Read more

Vadim Rizov, AV Club: Robin Hood systematically undercuts rapacious Florence, often quickly showing "what really happened" right after her delusory narration of events. Read more

Bill Goodykoontz, Arizona Republic: Kevin Kline makes a terrific Errol Flynn. He just picked the wrong movie to prove it. Read more

Ty Burr, Boston Globe: "The Last of Robin Hood" plays like a laboratory control experiment gone wrong: What would happen if you made a movie with a great cast and terrible everything else? Read more

J. R. Jones, Chicago Reader: [Kline] sails through his performance as the aging lothario Flynn; ably supporting Kline are Dakota Fanning as Flynn's underage paramour and Susan Sarandon as her one-legged mother. Read more

Michael Phillips, Chicago Tribune: The latest of Kline's period pictures that wastes no time in dashing your expectations. Read more

Tom Long, Detroit News: Since it's impossible to see what the attraction would be, the film's emotional logic fizzles. Read more

Leah Greenblatt, Entertainment Weekly: In the end it's a fond, fairly toothless B-movie take on a romance that wasn't so much May-December as straight-up statutory. Read more

Todd McCarthy, Hollywood Reporter: Holding the enterprise back, however, is a terribly restrained directorial approach and academic visual style that prevent the lubricious story from truly coming to life. Read more

Betsy Sharkey, Los Angeles Times: You can't help wondering where "The Last of Robin Hood" left its moral compass. Read more

John Anderson, Newsday: Terrific performances help mine the poignancy in a legendary tabloid story. Read more

Anthony Lane, New Yorker: [It] looks lowly and limp, and we seldom feel just how much is at stake. Read more

Stephen Whitty, Newark Star-Ledger: The movie's a bit like the ones Flynn had to settle for at the tail end of his career, slightly out-of-control narratives in which poor, dissipated Errol was brought in to add some shaky pathos. Read more

Joe Neumaier, New York Daily News: Kline, who previously brought Douglas Fairbanks to life for 1992's "Chaplin," has a field day thrusting and parrying with movie history. Read more

Nicolas Rapold, New York Times: The story comes to feel mild (and incomplete) in its tempered nostalgia. Read more

Michael Sragow, Orange County Register: The Last of Robin Hood treads delicately on dangerous ground. Without being prurient or titillating, it could have dared to tell us more. Read more

Tirdad Derakhshani, Philadelphia Inquirer: The Last of Robin Hood feels stilted, a chamber piece for the stage rather than a dynamic piece of cinema. Read more

Richard Roeper, Richard Roeper.com: A character study of an ultimately pathetic man. Read more

David Lewis, San Francisco Chronicle: This story about a real-life scandal from the 1950s - one that would light up the Internet if it happened today - comes off as a tepid, polite exercise, a movie afraid of its own shadow. Read more

Kristin Tillotson, Minneapolis Star Tribune: This final-days biopic ... hasn't much to raise it above straight-to-DVD caliber save the performance of Kevin Kline in a role he was born to play. Read more

Stephanie Zacharek, Village Voice: Like Lolita, it's a love story, one that acknowledges there's a cost attached to love - if it cost us nothing, it would be worth nothing. Read more

David Edelstein, New York Magazine/Vulture: The film is too wan and distanced to sweep you up, but it holds you, and it doesn't - unlike most Hollywood biopics - leave you feeling as if you need a shower. Read more

Stephanie Merry, Washington Post: Ultimately the movie feels like an empty exercise. Sure, it's a cautionary tale about the pitfalls of fame. But when the one figure most worthy of our sympathy is nothing more than a beautiful blonde robot, what's the point? Read more