All articles tagged with #hugh jackman
Robert Downey Jr.’s Doctor Doom headlines a fresh Avengers: Doomsday trailer, which debuted at Comic-Con and then went public at D23; the footage includes a Deadpool-offscreen whisper cameo and a broader, star-studded MCU/X‑Men lineup, with a December 18, 2026 release.
Ryan Reynolds revealed at Fanatics Fest 2026 that a new Deadpool movie is in early development at Marvel Studios, with Reynolds returning to star but no writer or director attached yet, following the blockbuster performance of Deadpool & Wolverine.
Ryan Reynolds teased a new Deadpool movie at Fanatics Fest 2026, following the box-office success of 2024’s Deadpool & Wolverine, but offered no concrete details on plot, solo vs. ensemble status, or cast.
Writer-director Michael Sarnoski explains Robin Hood is likely a blend of several 13th‑century outlaws rather than a single real figure, and his film The Death of Robin Hood anchors the story in 1274 AD with rigorous historical research and Northern Ireland production, reimagining the prioress as a healer to test whether a brutal legend can find redemption while staying true to medieval life; the IndieWire interview explores how plausibly the film can be rooted in history while delivering a bold, revisionist take on the myth.
Bill Skarsgård plays Little John (credited as Edward) in Michael Sarnoski's grim reimagining The Death of Robin Hood, as an aging Robin Hood fights a life of crime, is gravely injured, and offered a chance at salvation, with Skarsgård delivering a transformative, Pennywise-era performance.
The Death of Robin Hood is a bleak, violently reimagined tale that renders Robin Hood a cold-blooded killer; despite striking Northern Ireland scenery and strong performances by Hugh Jackman and Jodie Comer, the film remains a dour, narratively empty slog rather than a meaningful take on the legend.
Hugh Jackman discusses his grim, nihilistic take on Robin Hood in The Death of Robin Hood, directed by Michael Sarnoski for A24. Shot on location in Northern Ireland, the film explores how myths become tools to justify violence and questions whether the legend is a fabrication. Jackman praises Sarnoski’s distinctive voice, recalls grueling makeup and mud-soaked shoots, and notes his ongoing appetite for risky, boundary-pushing projects; The Death of Robin Hood opens June 19, 2026.
Director Michael Sarnoski’s The Death of Robin Hood casts Hugh Jackman as a ruthless, aging Robin Hood in a mood-driven, medieval tragedy backed by a $20 million budget for A24; the film emphasizes atmosphere and character over big action, filming in Northern Ireland with a priory-set arc, and Sarnoski envisions a darker take inspired by Unforgiven and The Revenant, while hinting at a Death Stranding adaptation next.
Michael Sarnoski’s The Death of Robin Hood traps the legend in a stark, Unforgiven-inspired meditation on violence and redemption, with Hugh Jackman as an aging, exiled Robin. Its Western-tinged, non-traditional narrative deconstructs the myth, supported by strong turns from Jodie Comer and Murray Bartlett, and uses shifting aspect ratios to underscore a story about judgment and the cost of redemption rather than a swashbuckling adventure.
Hugh Jackman is reportedly pursuing a major on-screen collaboration with Angelina Jolie, a longtime goal despite his ex-wife Deborra-Lee Furness having previously banned Jolie from working with him; the duo nearly co-starred in Van Helsing and The Prestige, with Jolie's scheduling and Furness's influence cited as reasons it never happened; Jackman remains hopeful about a Jolie project.
In The Death of Robin Hood, Hugh Jackman stars as a haunted, aging outlaw in a violent, meditative deconstruction of the Robin Hood myth; the film shifts from a brutal opening to a slow, reflective exploration of legacy and remorse, anchored by somber visuals and a sorrowful score, delivering sadness rather than swashbuckling action (opens June 19, 2026).
Michael Sarnoski’s The Death of Robin Hood presents a stark, revisionist portrait of the outlaw, with Hugh Jackman delivering a chilling, performance-driven take as a brutal Robin whose legend is interrogated by a dour 13th-century setting and Jodie Comer’s Sister Brigid. The film treats redemption as a slow, myth-busting process rather than a clean transformation, and while it leans into Eggers-like fidelity and austere visuals, it doubles as a meditation on how legends are forged. Grade: B. The movie hits theaters on June 19 from A24.
The Hollywood Reporter’s Frank Scheck reviews The Death of Robin Hood as a dour, mood-heavy revisionist take led by Hugh Jackman. The film casts Robin as a brutal historical outlaw rather than a folk hero, pairing restrained performances with heavy atmosphere, stark visuals, and graphic violence. Despite strong writing and directing by Michael Sarnoski, the movie drags and offers little revelatory insight into its antihero, leaving audiences fatigued rather than enlightened.
A somber, interior-focused revision of the Robin Hood myth, The Death of Robin Hood casts Hugh Jackman as a battle-weary antihero and strips away romance to explore guilt, meaning, and myth-making. Director Michael Sarnoski crafts a meticulously shot, atmospherically austere meditation that rewards craft and performances (notably Jackman and Jodie Comer) while delivering a heavy, often dour tone that may feel one-note despite its intellectual ambitions.
The article tracks lingering rumors of a romance between Hugh Jackman and Sutton Foster, spurred by NYC sightings and a hoodie reading 'finish it'; sources say ex-wife Deborra-Lee Furness wants closure and peace, while insiders claim Hollywood social circles are reacting and Jackman is protective of Foster, though there is no confirmed romance and both deny the affair.